Penrod's Double Trouble
Penrod's Double Trouble is a 1938 American comedy film directed by Lewis Seiler, written by Crane Wilbur, based on stories by Booth Tarkington. The film stars Billy Mauch, Bobby Mauch, Dick Purcell, Gene Lockhart, Kathleen Lockhart and Hugh O'Connell; the film was released by Warner Bros. on July 23, 1938. Billy Mauch as Penrod Schofield Bobby Mauch as Danny Dugan Dick Purcell as Tex Boyden Gene Lockhart as Mr. Frank Schofield Kathleen Lockhart as Mrs. Laura Schofield Hugh O'Connell as Professor Caligostro Charles Halton as Mr. Bitts Bernice Pilot as Delia Jackie Morrow as Rodney Bitts Philip Hurlic as Verman Penrod's Double Trouble on IMDb
Jack Kelly (actor)
John Augustus Kelly Jr. best known as Jack Kelly, was an American film and television actor most noted for the role of "Bart Maverick" in the television series Maverick, which ran on ABC from 1957-62. Kelly shared the series, rotating as the lead from week to week, first with James Garner as Bret Maverick with Roger Moore as Beau Maverick and Robert Colbert as Brent Maverick, before becoming the only Maverick in the fifth season. Kelly became a politician, having served from 1983 to 1986 as the mayor of Huntington Beach, California. John Augustus Kelly, Jr. was born in Astoria, New York, one of four children, to Ann Mary and John Augustus Kelly Sr. "Jackie", as he was called as a child, came from a prominent theatrical family. His mother, Ann "Nan" Kelly, had been a popular stage actress and John Robert Powers model. Kelly Senior was a theater ticket broker, after he moved the family to Hollywood, entered the real estate business, his sister, Oscar-nominated actress Nancy Kelly, was a prominent leading lady opposite Spencer Tracy, Tyrone Power, Henry Fonda among many others across a 36-film span.
His other two siblings and William Clement tried show business. Kelly served in the United States Army Air Corps during World War II. Kelly made his film debut in an uncredited role in the 1939 biopic The Story of Alexander Graham Bell, opposite Don Ameche and Loretta Young. On July 15, 1954, Kelly played the gunfighter and bandit Clay Allison in the syndicated television series Stories of the Century and narrated by Jim Davis. In 1955-1956 television season, Kelly starred in a series based on the 1942 feature film Kings Row, he played Dr. Parris Mitchell, a young psychiatrist coping with the narrow-minded environment of his small town. King's Row was one-third of the Warner Bros. Presents wheel series, hosted by Gig Young, it rotated at the scheduled hour of 7:30 Eastern on Tuesday with a similar television version of the popular movie Casablanca as well as the new ABC Western series Cheyenne starring Clint Walker. After the series ended in 1956, Kelly appeared in Forbidden Planet and She-Devil, along with guest roles on Fireside Theater, Schlitz Playhouse of Stars, Lux Video Theatre, Gunsmoke.
The various anti-heroic Mavericks were dapper professional poker-players roaming the Old West with the benefit of superb scripts. The series had an enormous cultural impact during a time when there were only three television networks and most cities had only three TV channels to choose from. Maverick's demanding filming; the producers decided to give Bret Maverick a brother so as not to run out of episodes long before the end of the season. Thus, Kelly was introduced as Bart Maverick in "Hostage!", the eighth episode of the series. Kelly shared the lead with James Garner in one of the show's most-discussed episodes, "Shady Deal at Sunny Acres", on which the first half of the 1973 movie The Sting appears to be based; the pair co-starred in the famous "Pappy" episode in which Garner played the brothers' much-quoted father Beauregard "Pappy" Maverick, in addition to his regular role of Bret. Aided by trick photography and Pappy play cards together in one scene. Bart rescued Bret at the climax of "Duel at Sundown", in which Garner first fought guest star Clint Eastwood.
Garner had first choice of which part he would play in the two-brother episodes, which delineated the brothers as "Maverick 1" and "Maverick 2" in the scripts, giving him an enormous advantage. All but one script during the show's first two years were written with Garner in mind regardless of which actor would be cast. Roy Huggins insisted. Although the "solo" episodes in which Bart appeared tended to be somewhat more dramatic than the Bret episodes, Kelly displayed his comedic skills in lighter Maverick outings such as "Hadley's Hunters" and "The People's Friend." Kelly appeared in more episodes of Maverick than James Garner, who left the show following a contract dispute in 1960. Kelly appeared in 83 episodes. In the wake of Garner's departure, Roger Moore stepped in to play Bart's cousin Beau Maverick in fourteen episodes, sharing the screen with Kelly in three of them, while Robert Colbert appeared in two installments as a third brother named Brent, one of which featured Kelly; when Maverick ended in 1962, Kelly continued acting with roles in a number of films and television shows.
In 1962, he played the lead in Red Nightmare a Cold War film narrated by Jack Webb in which Kelly's character wakes up one morning to discover that America has been taken over by Communists. On December 30, 1963, Kelly appeared with Barbara Bain in "The Fenton Canaby Story" on ABC's Wagon Train. Canaby is a former trailmaster with a dark secret, he is attracted to Lucy Garrison, a young woman with her own questionable past played by Barbara Bain, long before Mission: Impossible!. Kelly co-starred in Commandos opposite Lee Van Cleef, as a villain dressed exactly like Bart Maverick in Young Billy Young with Robert Mitchum. From 1969 to 1971, Kelly hosted the NBC daytime game show Sale of the Century but was replaced by Joe Garagiola, he was briefly a series regular in Get Christie Love! and The Hardy Boys/Nancy Drew Mysteries (1
A film poster is a poster used to promote and advertise a film. Studios print several posters that vary in size and content for various domestic and international markets, they contain an image with text. Today's posters feature photographs of the main actors. Prior to the 1980s, illustrations instead of photos were far more common; the text on film posters contains the film title in large lettering and the names of the main actors. It may include a tagline, the name of the director, names of characters, the release date, etc. Film posters are displayed inside and on the outside of movie theaters, elsewhere on the street or in shops; the same images appear in the film exhibitor's pressbook and may be used on websites, DVD packaging, advertisements in newspapers and magazines, etc. Film posters have been used since the earliest public exhibitions of film, they began as outside placards listing the programme of films to be shown inside the hall or movie theater. By the early 1900s, they began to feature illustrations of a film scene or an array of overlaid images from several scenes.
Other posters have used artistic interpretations of a scene or the theme of the film, represented in a wide variety of artistic styles. The first film poster was based on an illustration by Marcellin Auzolle to promote the showing of the Lumiere Brothers film L'Arroseur arrosé at the Grand Café in Paris on December 26, 1895. Film posters were produced for the exclusive use by the theaters exhibiting the film the poster was created for, were required to be returned to the distributor after the film left the theater. In the United States, film posters were returned to a nationwide operation called the National Screen Service which printed and distributed most of the film posters for the studios between 1940 and 1984; as an economy measure, the NSS recycled posters that were returned, sending them back out to be used again at another theater. During this time, a film could stay in circulation for several years, so many old film posters were badly worn before being retired into storage at an NSS warehouse.
Those posters which were not returned were thrown away by the theater owner or damaged by being outside. Beginning in the 1980s, the American film studios began taking over direct production and distribution of their posters from the National Screen Service and the process of making and distributing film posters became decentralized in that country. After the National Screen Service ceased most of its printing and distribution operations in 1985, some of the posters which they had stored in warehouses around the United States ended up in the hands of private collectors and dealers. Today there is a thriving collectibles market in film posters; the first auction by a major auction house of film posters occurred on December 11, 1990, when proceeds of a sale of 271 vintage posters run by Bruce Hershenson at Christie's totaled US$935,000. The record price for a single poster was set on November 15, 2005 when $690,000 was paid for a poster of Fritz Lang's 1927 film Metropolis from the Reel Poster Gallery in London.
Other early horror and science fiction posters are known to bring high prices as well, with an example from The Mummy realizing $452,000 in a 1997 Sotheby's auction, posters from both Bride of Frankenstein and The Black Cat selling for $334,600 in Heritage auctions, in 2007 and 2009, respectively. Rare film posters have been found being used as insulation in attics and walls. In 2011, 33 film posters, including a Dracula Style F one-sheet, from 1930-1931 were discovered in an attic in Berwick and auctioned for $502,000 in March 2012 by Heritage Auctions. Over the years, old Bollywood posters with hand-painted art, have become collectors items; as a result of market demand, some of the more popular older film posters have been reproduced either under license or illegally. Although the artwork on reproductions is the same as originals, reproductions can be distinguished by size, printing quality, paper type. Several websites on the Internet offer "authentication" tests to distinguish originals from reproductions.
Original film posters distributed to theaters and other poster venues by the movie studios are never sold directly to the public. However, most modern posters are produced in large quantities and become available for purchase by collectors indirectly through various secondary markets such as eBay. Accordingly, most modern posters are not as valuable; however some recent posters, such as the Pulp Fiction "Lucky Strike" U. S. one sheet poster, are quite rare. Lobby cards are similar to posters but smaller 11 in × 14 in 8 in × 10 in before 1930. Lobby cards are collectible and values depend on their age and popularity. Issued in sets of eight, each featuring a different scene from the film. In unusual circumstances, some releases were promoted with smaller sets; the set for The Running Man, for example, had only six cards, whereas the set for The Italian Job had twelve. Films released by major production companies experiencing financial difficulties lacked lobby sets, such as Manhunter. A Jumbo Lobby Card is larger, 14 in x 17 in and issued in sets.
Prior to 1940 studios promoted major releases with the larger card sets. In addition to the larger size, the paper quality was better; the title card disp
Earle Hyman was an American stage and film actor. Hyman is known for his role on ThunderCats as the voice of various other characters, he appeared on The Cosby Show as Cliff's father, Russell Huxtable. Hyman was born in Rocky Mount, North Carolina, as George Earle Plummer according to the North Carolina Birth Index, he was of Native American ancestry. His parents, Zachariah Hyman and Maria Lilly Plummer, moved their family to Brooklyn, New York in the late 1920s, where Hyman grew up. Hyman became interested in acting after seeing a production of Norwegian playwright Henrik Ibsen's Ghosts.“The first play I saw was a present from my parents on my 13th birthday — Nazimova in ‘Ghosts’ at Brighton Beach on the subway circuit — and I just freaked out.” He studied acting at HB Studio in New York City. He made his Broadway stage debut as a teenager in 1943 in Run, Little Chillun, joined the American Negro Theater; the following year, Hyman began a two-year run playing the role of Rudolf on Broadway in Anna Lucasta, starring Hilda Simms in the title role.
He was a member of the American Shakespeare Theatre beginning with its first season in 1955, played the role of Othello in the 1957 season. In December 1958 he came to London to play the leading role in Moon on a Rainbow Shawl, by Errol John, at the Royal Court. In 1959 he again appeared in the West End, this time in the first London production of A Raisin In the Sun alongside Kim Hamilton; the show was directed again by Lloyd Richards. A life member of The Actors Studio, Hyman appeared throughout his career in productions in both the United States and Norway, where he owned property. In 1965, won a Theatre World Award and in 1988, he was awarded the St Olav's medal for his work in Norwegian theater. In addition to his stage work, Hyman appeared in various television and film roles including adaptions of Macbeth, Julius Caesar, Coriolanus, voiced Panthro on the animated television series ThunderCats, he played. One of his most well known roles, that of Russell Huxtable in The Cosby Show, earned him an Emmy Award nomination in 1986.
He played the father of lead character Cliff Huxtable, played by actor Bill Cosby, despite only being 11 years older than Cosby. Hyman, who never married or had children, died at age 91 on November 17, 2017, at the Lillian Booth Actors Home in Englewood, New Jersey. In Norway he had a cabin in Skånevik. Earle Hyman learned speaking Norwegian through his live-in partner, the sailor Rolf Sirnes from Haugesund. In the 1990s they lived in New York City. Earle Hyman on IMDb Earle Hyman at the Internet Broadway Database Earle Hyman at the Internet Off-Broadway Database Audio Interview
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
Tumbling River is a 1927 American silent Western film directed by Lewis Seiler, written by Jack Jungmeyer, starring Tom Mix, Dorothy Dwan, William Conklin, Estella Essex, Elmo Billings, Edward Peil, Sr. and Wallace MacDonald. It was released on August 1927, by Fox Film Corporation. Tom Mix as Tom Gieer Dorothy Dwan as Edna Barton William Conklin as Jim Barton Estella Essex as Eileen Barton Elmo Billings as Kit Mason Edward Peil, Sr. as Roan Tibbets Wallace MacDonald as Keechie Buster Gardner as Cory Harry Gripp as Titus Currently the film is lost. Tumbling River on IMDb
Lewis Seiler was an American film director. He directed 88 films between 1923 and 1958, he was died in Hollywood, California. Lewis Seiler on IMDb