John Wells (satirist)
John Campbell Wells was an English actor and satirist. The son of a clergyman, Wells was born in Ashford, Kent in 1936, he was educated at St Edmund Hall, Oxford. Wells started in cabaret at Oxford and began his television career as a writer on That Was The Week That Was, the 1960s weekly satire show that launched the careers of David Frost and Millicent Martin, among others, appeared in the television programme Not So Much a Programme, More a Way of Life, as well as in The Secret Policeman's Other Ball. Besides making cameo appearances in films such as Casino Royale and Rentadick, television dramas like Casanova, an episode of Lovejoy and comedy shows like Yes Minister, he wrote television scripts and screenplays, such as Princess Caraboo. In 1971, with John Fortune, he published the comedy classic A Melon for Ecstasy, about a man who consummates his love affair with a tree. Wells played the headmaster of Thursgood's Preparatory School in Tinker, Soldier, Spy. Wells was one of the original contributors to the satirical magazine Private Eye and contributed to Mrs Wilson's Diary, the long-running spoof journal of the wife of Prime Minister Harold Wilson.
From 1979 he repeated that success with Dear Bill, a series of letters sent by Denis Thatcher, husband of Prime Minister Margaret Thatcher, to Bill Deedes. Wells developed the feature into a stage farce, Anyone for Denis?, first performed in 1981, in which he played Denis Thatcher. Co-starring Angela Thorne as Mrs. Thatcher, the play was a major West End hit, toured the UK and was adapted for television. Wells played Denis Thatcher in the Bond movie For Your Eyes Only. In 1991, he and Thorne again played the Thatchers in Dunrulin, a one-off TV sitcom-like satirical look at the couple in retirement, he voiced Arnold the Elephant, Edward the Monkey and Bert in the children's TV series Charlie Chalk. In 1988, Leonard Bernstein started working on a new version of his much-revised operetta Candide; the author of the original book, Hugh Wheeler, had died, John Wells was asked to help revise the text. The first production of this "final version", by Scottish Opera, was followed by a "final revised version" in 1989, performances of which have been released on CD and DVD.
An insert in the DVD, written by Wells, explained what Bernstein had wanted in this final revised version. In 1997 Wells appeared in the BBC situation comedy Chalk as ineffectual headmaster Richard Nixon, his fellow cast members do not recall him being ill on set, but he was too unwell to participate in the second series. Wells' last book, House of Lords, was a best-seller and published a year before his death in 1998; the book is a humorous study of the British peerage system. From 1982, Wells was the second husband of Teresa Chancellor, his daughter Dolly is an actress. Wells died of cancer in London in 1998 at the age of 61. John Wells on IMDb
Marne Maitland was an Anglo-Indian character actor in films and television programmes. Born in Calcutta, educated at Bedales School and Magdalene College, Maitland made his film debut in Cairo Road, his sharp, dark features and small stature saw him type cast as villains from the Middle and Far East for Hammer Film Productions. These include The Camp on Blood Island, The Stranglers of Bombay, The Terror of the Tongs, as Malay in The Reptile. Other film roles include Father Brown, Bhowani Junction, Carlton-Browne of the F. O. I'm All Right Jack, Lord Jim, Anne of the Thousand Days, Man of La Mancha, The Man with the Golden Gun, he made numerous television appearances in programmes such as The Buccaneers, Danger Man, The Avengers, The Saint, The Champions, Department S, Randall and Hopkirk. One of his television roles was as Pandit Baba, a scholar agitating for an end to British rule in India, in the Granada series The Jewel in the Crown, he died in March 1992. Marne Maitland on IMDb Little Margaret Movie
Norman Frederick Jewison is a Canadian film director, producer and founder of the Canadian Film Centre. He has directed numerous feature films and has been nominated for the Academy Award for Best Director three times in three separate decades for In the Heat of the Night, Fiddler on the Roof and Moonstruck. Other highlights of his directing career include The Cincinnati Kid, The Russians Are Coming, the Russians Are Coming, The Thomas Crown Affair, Jesus Christ Superstar, Rollerball, F. I. S. T.... And Justice for All, A Soldier's Story, Agnes of God, Other People's Money, The Hurricane and The Statement. Jewison has addressed important social and political issues throughout his directing and producing career making controversial or complicated subjects accessible to mainstream audiences, he has won accolades around the world, including numerous Golden Globe nominations, a BAFTA Award, the Silver Bear for Best Director at the Berlin Film Festival, Lifetime Achievement Awards from both the Directors Guild of Canada and America, the Irving G. Thalberg Memorial Award at the 71st annual Academy Awards.
In 2003, Jewison received the Governor General's Performing Arts Award for Lifetime Artistic Achievement for his multiple contributions to the film industry in Canada. Jewison was born in Toronto, the son of Dorothy Irene and Percy Joseph Jewison, who managed a convenience store and post office, he attended Kew Beach School and Malvern Collegiate Institute, while growing up in the 1930s displayed an aptitude for performing and theatre. Jewison is mistaken for being Jewish due to his surname, but he and his family are in fact Protestant, he served in the Royal Canadian Navy during World War II, after being discharged travelled in the American South, where he encountered segregation, an experience that would influence his work. Jewison attended Victoria College in the University of Toronto, graduating with a B. A. in 1949. As a student he was involved in writing and acting in various theatrical productions, including the All-Varsity Revue in 1949. Following graduation, he moved to London, where he worked sporadically as a script writer for a children's TV program and bit part actor for the BBC, while supporting himself with odd jobs.
Out of work in Britain in late 1951, he returned to Canada to become a production trainee at CBLT in Toronto, preparing for the launch of CBC Television. When CBC Television went on the air in the fall of 1952, Jewison was an assistant director. During the next seven years he wrote and produced a wide variety of musicals, comedy-variety shows and specials, including The Big Revue and The Barris Beat. In 1953 he married a former model, they would have three children – Michael and Jennifer – who would all pursue careers in the entertainment industry. In 1958 Jewison was recruited to work for NBC in New York, where his first assignment was Your Hit Parade, followed by The Andy Williams Show; the success of these shows led to directing specials featuring performers such as Harry Belafonte, Jackie Gleason, Danny Kaye. The television production that proved pivotal to Jewison's career was the Judy Garland "comeback" special that aired in 1961, which included Frank Sinatra and Dean Martin, led to a weekly show that Jewison was called in to direct.
Visiting the studio during rehearsal for the special, actor Tony Curtis suggested to Jewison that he should direct a feature film. It was not until the early 1990s that he would branch back into television, starting with producing the TNT biographical film Geronimo. Jewison's career as a film director began with the comedy Forty Pounds of Trouble; the next three films he directed, including two with Doris Day, The Thrill of It All and Send Me No Flowers, were light comedies done under contract for Universal Studios. After The Art of Love, Jewison was determined to escape from the genre and tackle more demanding projects, his breakthrough film proved to be The Cincinnati Kid, a drama starring Steve McQueen, now considered one of the finest movies made about gambling, Jewison considers it one of his personal favourites because it was his first challenging drama. This success was followed in 1966 by a satire on Cold War paranoia, The Russians Are Coming, the Russians Are Coming, he felt that doing "a plea for coexistence, or the absurdity of international conflict was important right at that moment".
While reaction to Russians was positive, Jewison was labeled as "a Canadian pinko" by right-wing commentators. Continuing the string of successes was one of the films that has become identified with its director, In the Heat of the Night, a crime drama set in a racially divided Southern town and starring Sidney Poitier and Rod Steiger, which won five Academy Awards, including Best Picture, while Jewison was nominated for Best Director. While he was filming, Robert Kennedy told Jewison that this could be "a important film. Timing is everything". Kennedy reminded Jewison of that prediction a year and a half when he presented him with the Critics' Choice Movie Award for best drama; as a follow-up he directed and produced another film with McQueen, using innovative multiple screen images in the crime caper The Thomas Crown Affair. From that point Jewison produced all feature films he directed with associate Patrick Palmer, he acted as producer for films directed by others, beginning with his former film editor Hal Ashby's dir
A bullfighter is a performer in the art of bullfighting. "Torero" or "toureiro" are the Spanish and Portuguese words for bullfighter and describe all the performers in the sport of bullfighting as practised in Spain, Mexico, France, Ecuador and other countries influenced by Portuguese and Spanish culture. The main performer and leader of the entourage in a bullfight, who kills the bull, is addressed as maestro, or with the formal title matador de toros; the other bullfighters in the entourage are called subalternos and their suits are embroidered in silver as opposed to the matador's more-theatrical gold. They include the picadores and banderilleros. In English, a torero is sometimes referred to by the term toreador, popularized by Georges Bizet in his opera Carmen. In Spanish, the word designates bullfighters on horseback, but is little used today, having been entirely displaced by rejoneador. A small number of women have been bullfighters on foot or on horseback. Female matadors have experienced considerable resistance and public hostility from some aficionados and other matadors.
Toreros start fighting younger bulls, are called novilleros. Fighting of mature bulls commences only after a special match, called "the Alternative". At this same bullfight, the novillero is presented to the crowd; the act of bullfighting is not called or considered a stand-alone sport but rather a performance art. There is any formal classification. Further still, bullfighting started more with nobles upon horseback, all lancing bulls with accompanying commoners on foot doing helper jobs; as time went by, the work of the commoners on foot gained in importance up to the point whereupon they became the main and only act. Bullfighting on horseback became a separate and distinct act called "rejoneo", still performed today, although less often. Bullfighting on foot became a means for poor, able-bodied men to achieve fame and fortune, similar to the role of boxing in many countries; when asked why he risked his life, one famous torero answered, Más cornadas da el hambre. Today, it is common for a bullfighter to be born into a family of bullfighters.
The established term, Maletilla or espontáneo, is attributed to those who illegally jump into the ring and attempt to bullfight for their sake and glory. While the practice itself is despised by many spectators and fans alike, such as El Cordobés, started their careers this way. A matador de toros is considered to be both an artist and an athlete, possessing great agility, co-ordination. One of the most famous matadors was Juan Belmonte, whose technique in the ring revolutionized bullfighting and remains an established standard by which a great deal of bullfighters are judged; the style and bravery of the matador is regarded as being, at least important as to whether or not he kills the bull. The most successful matadores used to be treated like pop stars, with matching financial incomes, cult followings and accompanied by lurid tabloid stories about their romantic conquests with women; however today's top matadors earn less, in real terms, than their peers did in the 1960s—and much of mass media coverage is only limited to a handful of matadors known as the "mediáticos", the sum of which do not include any of the nation's prized bullfighters in Spain.
The great personal danger of bullfighting adds to the performing matador's mystique. One of the most famous bullfighters in history, died this way in 1947; the most recent bullfighter to die this way was the matador Iván Fandiño on 17 June 2017 in Aire-sur-l'Adour, France. This hazard is said to be central to the appeal of bullfighting; the American writer Ernest Hemingway was a bullfighting aficionado. Within his fictional works, The Sun Also Rises features a matador and scenes of bullfighting, as do his short stories The Capital of the World and The Undefeated. Outside of fiction, he wrote at length on the subject in Death in the Afternoon and The Dangerous Summer. In 1962, Hollywood producer David Wolper produced "The Story Of A Matador", documenting what it's like to be a matador. In this case, it was the late Matador Jaime Bravo. A picador is a bullfighter who uses a special lance called pica while on horseback to test the bull's strength and to provide clues to the matador on which side the bull is favoring.
They perform in the tercio de varas, the first of the three stages in a Spanish bullfight. The shape of the lance or pica is regulated by Spanish law to prevent serious injury to the bull, viewed as unfair cheating in the past; the bull will charge the horses in the ring and, at the moments prior to contact, the picador lances the bull in a large muscle at the back of the neck. The picador continues to stab at the bull's neck leading to the animal's first major loss of blood. During this time, the bull's injured nape will fatigue—however, as a result of the enraged bull charging, the picador's horse will tussle with avoiding the bull throes
My Pal Gus
My Pal Gus is a 1952 comedy-drama film which follows Gus, the young son of divorced industrialist Dave Jennings. Unable to cope with Gus' mischievous streak, Jennings places the boy in a day-care center. Gus' teacher Lydia Marble manages to curb the boy's prankishness, along the way falls in love with Jennings. Enter the villainess of the piece: Jennings' ex-wife Joyce, who claims that the divorce is invalid and demands a huge sum from Jennings, lest she claim custody of Gus. Dave Jennings is so focused on his Los Angeles-based business that he neglects his precocious five-year-old son Gus, creating havoc in order to get his father's attention. After Gus's latest escapade is cleaned up and paid for, Dave orders his long-suffering secretary, Ivy Tolliver, to find a new nurse for Gus leaves on a business trip. Upon his return, Dave learns that Ivy has placed Gus in the Playtime School, that he must meet with the teacher, Lydia Marble, to enroll Gus formally. Rushed as usual, Dave tells the attractive Lydia that he will pay whatever it takes to keep Gus in line, but when Lydia explains that parents are required to participate in their child's education at Playtime, Dave indignantly states that he knows all he needs to about Gus.
Dave is amazed by how well Gus responds to Lydia's instructions, after he smacks a schoolmate. Believing that Gus can benefit from Lydia's tutelage, Dave agrees to keep him at Playtime; as the next three weeks pass, Gus becomes contented and well-behaved, but on Dave's scheduled parent participation day, the businessman instead sends a truckload of toys to the school. Lydia returns the toys with a note admonishing Dave that as a substitute for his attention, the toys are not enough, when Dave comes to the school to protest, Lydia assumes that he is there to help. Dave tells Lydia that he has fallen in love with her, although Lydia returns Dave's affections, she tells him that his feelings stem from his dependence upon her for help with Gus; that night, Dave comforts a frightened Gus by allowing him to sleep in his bed, realizing that he no longer needs Lydia for instruction on child care, confronts her with his new knowledge. Secure that Dave does indeed love her for herself, Lydia enjoys his embrace.
As time passes, Dave becomes a devoted father, his romance with Lydia blossoms into an engagement. On Gus's birthday, Joyce, Dave's ex-wife and asks Dave to visit her at her hotel. Fearing the worst, Dave keeps the appointment and discovers that the money-grubbing, immoral Joyce is broke and claims that their Mexican divorce is not legal. Dave's lawyer, Farley Norris, confirms the upsetting news, but Dave, infuriated by Joyce's reappearance, refuses to give her money to obtain a legal divorce. Determined to win, no matter what is revealed about Joyce in court, Dave does not listen to the pleas of his friends that he think of Gus and end the confrontation quietly. Dave instead hires private detectives to gather ammunition against Joyce until the day before the trial begins. Needing a rest, Dave spends the night. Unknown to Dave and Gus have spent the night there, in court the next day, Joyce's lawyer charges Dave with adultery and names Lydia as the co-respondent; the resulting publicity horrifies Lydia, she is forced to close her school.
Lydia confronts Dave, accusing him of caring more about his fortune than about his son, breaks their engagement. As the trial continues, Farley proves that Joyce abandoned Dave, the judge upholds Dave's request for a divorce. Although he does not award Joyce any of Dave's property, the judge, sickened by Dave's tactics, grants Joyce custody of Gus. Dave is heartbroken, on the morning that he drives Gus to Joyce's hotel, is overcome when Gus pleads to remain with him. Realizing that Gus is more important to him than anything else, Dave marches to Joyce's room and agrees to give her everything he owns in exchange for permanent custody of Gus; as he returns to the car, Dave is met by Lydia. Assuring her that the matter is settled, Dave embraces Lydia and Gus asks Lydia if she can pay for lunch. My Pal Gus film clip on YouTube
Sammy Cahn was an American lyricist and musician. He is best known for his romantic lyrics to films and Broadway songs, as well as stand-alone songs premiered by recording companies in the Greater Los Angeles Area, he and his collaborators had a series of hit recordings with Frank Sinatra during the singer's tenure at Capitol Records, but enjoyed hits with Dean Martin, Doris Day and many others. He played the violin, he won an Oscar 4 times for his songs, including the popular song "Three Coins in the Fountain". Among his most enduring songs is "Let It Snow! Let It Snow! Let It Snow!", cowritten with Jule Styne in 1945. Cahn was born Samuel Cohen in the Lower East Side of New York City, the only son of Abraham and Elka Reiss Cohen, who were Jewish immigrants from Galicia ruled by Austria-Hungary, his sisters, Pearl and Evelyn, all studied the piano. His mother did not approve of Sammy studying it though, feeling that the piano was a woman's instrument, so he took violin lessons. After three lessons and following his bar mitzvah, he joined a small dixieland band called Pals of Harmony, which toured the Catskill Mountains in the summer and played at private parties.
This new dream of Cahn's destroyed. Some of the side jobs he had were playing violin in a theater-pit orchestra, working at a meat-packing plant, serving as a movie-house usher, freight-elevator operator, restaurant cashier, porter at a bindery. At age 16, he was watching vaudeville, of which he had been a fan since the age of 10, he witnessed Jack Osterman singing a ballad Osterman had written. Cahn was inspired and, on his way home from the theater, wrote his first lyric, titled "Like Niagara Falls, I'm Falling for You – Baby." Years he would say "I think a sense of vaudeville is strong in anything I do, anything I write. They call it'a vaudeville finish,' and it comes through in many of my songs. Just sing the end of'All the Way' or'Three Coins in the Fountain'—'Make it mine, make it mine, MAKE IT MINE!' If you let people know they should applaud, they will applaud."Much of Cahn's early work was written in partnership with Saul Chaplin. They first met. Cahn said, "I'd learned a few chords on the piano, maybe two, so I'd tried to write a song.
Something I called'Shake Your Head from Side to Side.'" Billed as "Cahn and Chaplin", they composed witty special material for Warner Brothers' musical short subjects, filmed at Warners' Vitaphone studio in Brooklyn, New York. "There was a legendary outfit on West 46th Street and Pransky... they were the MCA, the William Morris of the Borscht Belt. I got a room in their offices, we started writing special material. For anybody who'd have us—at whatever price." They did not make much money, but they did work with up-and-comers Milton Berle, Danny Kaye, Phil Silvers, Bob Hope. One of his childhood friends was Lou Levy, who had gone from neighborhood bum to blackface dancer with the Jimmie Lunceford Orchestra. Lyric writing has always been a thrilling adventure for me, something I've done with the kind of ease that only comes with joy! From the beginning the fates have conspired to help my career. Lou Levy, the eminent music publisher, lived around the corner and we met the day I was leaving my first music publisher's office.
This led to a partnership. Lou and I wrote "Rhythm is Our Business," material for Jimmie Lunceford's orchestra, which became my first ASCAP copyright. I'd been churning out "special lyrics" for special occasions for years and this helped facilitate my tremendous speed with lyric writing. Many might have written these lyrics better—but none faster! Glen Gray and Tommy Dorsey became regular customers and through Tommy came the enduring and most satisfying relationship of my lyric writing career – Frank Sinatra; the song became the Orchestra's signature song. The duo worked for Glen Gray's Casa Loma Orchestra and their premiere at Paramount Theatre, they worked for Andy Kirk and his Clouds of Joy and they wrote Until the Real Thing Comes Along. Cahn wrote the lyrics to "Love and Marriage,", used as the theme song for the FOX TV show Married... with Children. The song debuted in a 1955 television production of Our Town, won an Emmy Award in 1956; this was only one of many songs that Jimmy Van Heusen wrote for Frank Sinatra.
They were "almost considered to be his personal songwriters."Cahn contributed lyrics for two otherwise unrelated films about the Land of Oz, Journey Back to Oz and The Wizard of Oz. The former were composed with Van Heusen, the latter with Allen Byrns, Joe Hisaishi, Yuichiro Oda. Cahn became a member of the Songwriters Hall of Fame in 1972, he took over the presidency of that organization from his friend Johnny Mercer when Mercer became ill. Cahn died on January 1993, at the age of 79 in Los Angeles, California from heart failure, his remains were interred in the Westwood Village Memorial Park Cemetery. He changed his last name from Cohen to Kahn to avoid confusion with comic and MGM actor Sammy Cohen and again from Kahn to Cahn to avoid confusion with lyricist Gus Kahn, he was married twice: first in 1945 to vocalist and former Goldwyn girl Gloria Delson with whom he had two children. They divorced after 18 years of marriage. In 1965, she re-married Mike Franks. In 1970, he married Virginia Curtis, a former fashion coordinator for the clothes designer Donald Brooks.
He was the father of Laurie Cahn and jazz/fusion guitarist Steve Khan who, early
Warner Bros. Entertainment Inc. referred to as Warner Bros. and abbreviated as WB, is an American entertainment company headquartered in Burbank, California and a subsidiary of AT&T's WarnerMedia. Founded in 1923, it has operations in film and video games and is one of the "Big Five" major American film studios, as well as a member of the Motion Picture Association of America; the company's name originated from the four founding Warner brothers: Harry, Albert and Jack Warner. Harry and Sam emigrated as young children with their parents to Canada from Krasnosielc, Poland. Jack, the youngest brother, was born in Ontario; the three elder brothers began in the movie theater business, having acquired a movie projector with which they showed films in the mining towns of Pennsylvania and Ohio. In the beginning and Albert Warner invested $150 to present Life of an American Fireman and The Great Train Robbery, they opened their first theater, the Cascade, in New Castle, Pennsylvania, in 1903. When the original building was in danger of being demolished, the modern Warner Bros. called the current building owners, arranged to save it.
The owners noted people across the country had asked them to protect it for its historical significance. In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company, to distribute films. In 1912, Harry Warner hired. By the time of World War I they had begun producing films. In 1918 they opened the first Warner Brothers Studio on Sunset Boulevard in Hollywood. Sam and Jack produced the pictures, while Harry and Albert, along with their auditor and now controller Chase, handled finance and distribution in New York City. During World War I their first nationally syndicated film, My Four Years in Germany, based on a popular book by former ambassador James W. Gerard, was released. On April 4, 1923, with help from money loaned to Harry by his banker Motley Flint, they formally incorporated as Warner Bros. Pictures, Incorporated; the first important deal was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers, from theatrical impresario David Belasco.
However, Rin Tin Tin, a dog brought from France after World War I by an American soldier, established their reputation. Rin Tin Tin debuted in the feature; the movie was so successful. Rin Tin Tin became the studio's top star. Jack nicknamed him "The Mortgage Lifter" and the success boosted Darryl F. Zanuck's career. Zanuck became a top producer and between 1928 and 1933 served as Jack's right-hand man and executive producer, with responsibilities including day-to-day film production. More success came. Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, was on The New York Times best list for that year. Despite the success of Rin Tin Tin and Lubitsch, Warner's remained a lesser studio. Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummel; the film was so successful. By the end of 1924, Warner Bros. was arguably Hollywood's most successful independent studio, where it competed with "The Big Three" Studios. As a result, Harry Warner—while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin—was able to convince the filmmakers to spend $500,000 in newspaper advertising, Harry saw this as an opportunity to establish theaters in cities such as New York and Los Angeles.
As the studio prospered, it gained backing from Wall Street, in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nationwide distribution system. In 1925, Warners' experimented in radio, establishing a successful radio station, KFWB, in Los Angeles. Warner Bros. was a pioneer of films with synchronized sound. In 1925, at Sam's urging, Warner's agreed to add this feature to their productions. By February 1926, the studio reported a net loss of $333,413. After a long period denying Sam's request for sound, Harry agreed to change, as long as the studio's use of synchronized sound was for background music purposes only; the Warners signed a contract with the sound engineer company Western Electric and established Vitaphone. In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore; the film was silent. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, renamed it Warners' Theatre.
Don Juan premiered at the Warners' Theatre in New York on August 6, 1926. Throughout the early history of film distribution, theater owners hired orchestras to attend film showings, where they provided soundtracks. Through Vitaphone, Warner Bros. produced eight shorts in 1926. Many film production companies questioned the necessity. Don Juan did not recoup its production cost and Lubitsch left for MGM. By April 1927, the Big Five studios had ruined Warner's, Western Electric renewed Warner's Vit