Merle Oberon movies: Mysterious star of British and American cinema. Merle Oberon on TCM: Donning men's clothes in 'A Song to Remember,' fighting hiccups in 'That Uncertain Feeling' Merle Oberon is Turner Classic Movies' Star of the Month of March 2016. The good news: the exquisite (and mysterious) Oberon, whose ancestry has been a matter of conjecture for decades, makes any movie worth a look. The bad news: TCM isn't offering any Oberon premieres despite the fact that a number of the actress' films – e.g., Temptation, Night in Paradise, Pardon My French, Interval – can be tough to find. This evening, March 18, TCM will be showing six Merle Oberon movies released during the first half of the 1940s. Never a top box office draw in the United States, Oberon was an important international star all the same, having worked with many of the top actors and filmmakers of the studio era.
- 3/19/2016
- by Andre Soares
- Alt Film Guide
Dorothy Arzner (1897-1979) was one of a kind in the history of American cinema, the only woman to carve out a professional career as a director in Hollywood's Golden Age. In its 62nd edition, the San Sebastian Festival pays homage to the work of Arzner, today considered a pioneer in women's incorporation to the film industry, proclaimed as a filmmaker of strong style and personality for which she earned undeniable prestige within the Hollywood studio system.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner made her directorial debut with "Fashions for Women" (1927), going on the following year to become the first women ever to direct a talkie with Manhattan Cocktail (1928). Arzner directed 15 films throughout the 30s and the early 40s, working with Hollywood stars such as Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and melodramas with particular focus on female characters. In 1933 she became the first woman to join the Directors Guild of America and was its only female member for several decades. Although her name was progressively forgotten, Arzner's career was ratified in the 60s by feminist movements and received numerous tributes, including one by the Directors Guild of America in 1975. Today her films are not only newly appreciated for being an unusual exception in the history of American film, but also f or their intrinsic values. Arzner left her stamp on several films of refined visual style that questioned traditional sexual roles and the part played by women in society or which, according to certain critics, introduced veiled homosexual undertones to the rigid Hollywood structure of the time.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will feature her twelve surviving films. It is organised together with Filmoteca Española. To accompany the cycle, a bilingual (English and Spanish) book will be published on the filmmaker, written by Judith Mayne.
The Wild Party Dorothy Arzner (USA) 1929 The explosive Clara Bow (in her first talkie) and the man who would become one of Arzner's favourite actors, Fredric March, star in this surprising and brazen film shot before the Hays Code of censorship was imposed upon Hollywood.
Sarah and Son Dorothy Arzner (USA) 1930 A melodrama that earned the leading lady, Ruth Chatterton, an Academy Award nomination for her part as an opera singer searching for the son she lost many years ago.
Anybody's Woman Dorothy Arzner (USA) 1930 A rather daring romantic comedy for its day; a lawyer and a chorus girl waken man and wife after a night on the tiles. All sorts of confusions ensue.
Honor Among Lovers Dorothy Arzner (USA) 1931 A luxury cast (Claudette Colbert, Fredric March and Ginger Rogers) for a melodrama in which Dorothy Arzner looked at a rather unusual subject for films of the time: sexual harassment in the working environment.
Working Girls Dorothy Arzner (USA) 1931 Adaptation of a play by the author popular in her day, Vera Caspary, this film represents yet another shrewd look at the world of women by Dorothy Arzner seen through the portrayal of two friends in search of work and a husband.
Merrily We Go to Hell Dorothy Arzner (USA) 1932 The tale of an alcoholic author and the woman who rescues him is turned in Dorothy Arzner's hands into a romantic comedy taking yet another look at the role of women in a couple's relations.
Christopher Strong Dorothy Arzner (USA) 1933 Katharine Hepburn embodies one of her typical spirited female characters in this eye-opening melodrama from Arzner, a full-on snub of the nose to the usual roles played by women in classic movies: the love affair between an MP and an aviatrix.
Nana Dorothy Arzner (USA) 1934 Dorothy Arzner adapted Émile Zola's classic novel into a film to flatter a would-be star soon forgotten by Hollywood, Anna Sten. Set in 19th century Paris, this is a curious foray by the director into period melodrama.
Craig's Wife Dorothy Arzner (USA) 1936 This melodrama sees another of the big Hollywood stars who worked under the orders of Dorothy Arzner, Rosalind Russell, play a domineering woman who marries a wealthy man for money and power.
The Bride Wore Red Dorothy Arzner (USA) 1937 Joan Crawford and a spectacular red dress by the famous designer Adrian star in one of Dorothy Arzner's most popular romantic comedies, a tale of love and luxury once again featuring an unforgettable female character.
Dance, Girl, Dance Dorothy Arzner (USA) 1940 Maureen O'Hara and Lucille Ball wrangle in a professional and sentimental duel set in the world of show business and spiced up with musical numbers.
First Comes Courage Dorothy Arzner (USA) 1943 Dorothy Arzner's last film was her contribution to the warring efforts of the allies during World War II; a spy story where Merle Oberon brings life to an anti-Nazi resistance worker in Norway who must choose between love and duty.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner made her directorial debut with "Fashions for Women" (1927), going on the following year to become the first women ever to direct a talkie with Manhattan Cocktail (1928). Arzner directed 15 films throughout the 30s and the early 40s, working with Hollywood stars such as Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and melodramas with particular focus on female characters. In 1933 she became the first woman to join the Directors Guild of America and was its only female member for several decades. Although her name was progressively forgotten, Arzner's career was ratified in the 60s by feminist movements and received numerous tributes, including one by the Directors Guild of America in 1975. Today her films are not only newly appreciated for being an unusual exception in the history of American film, but also f or their intrinsic values. Arzner left her stamp on several films of refined visual style that questioned traditional sexual roles and the part played by women in society or which, according to certain critics, introduced veiled homosexual undertones to the rigid Hollywood structure of the time.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will feature her twelve surviving films. It is organised together with Filmoteca Española. To accompany the cycle, a bilingual (English and Spanish) book will be published on the filmmaker, written by Judith Mayne.
The Wild Party Dorothy Arzner (USA) 1929 The explosive Clara Bow (in her first talkie) and the man who would become one of Arzner's favourite actors, Fredric March, star in this surprising and brazen film shot before the Hays Code of censorship was imposed upon Hollywood.
Sarah and Son Dorothy Arzner (USA) 1930 A melodrama that earned the leading lady, Ruth Chatterton, an Academy Award nomination for her part as an opera singer searching for the son she lost many years ago.
Anybody's Woman Dorothy Arzner (USA) 1930 A rather daring romantic comedy for its day; a lawyer and a chorus girl waken man and wife after a night on the tiles. All sorts of confusions ensue.
Honor Among Lovers Dorothy Arzner (USA) 1931 A luxury cast (Claudette Colbert, Fredric March and Ginger Rogers) for a melodrama in which Dorothy Arzner looked at a rather unusual subject for films of the time: sexual harassment in the working environment.
Working Girls Dorothy Arzner (USA) 1931 Adaptation of a play by the author popular in her day, Vera Caspary, this film represents yet another shrewd look at the world of women by Dorothy Arzner seen through the portrayal of two friends in search of work and a husband.
Merrily We Go to Hell Dorothy Arzner (USA) 1932 The tale of an alcoholic author and the woman who rescues him is turned in Dorothy Arzner's hands into a romantic comedy taking yet another look at the role of women in a couple's relations.
Christopher Strong Dorothy Arzner (USA) 1933 Katharine Hepburn embodies one of her typical spirited female characters in this eye-opening melodrama from Arzner, a full-on snub of the nose to the usual roles played by women in classic movies: the love affair between an MP and an aviatrix.
Nana Dorothy Arzner (USA) 1934 Dorothy Arzner adapted Émile Zola's classic novel into a film to flatter a would-be star soon forgotten by Hollywood, Anna Sten. Set in 19th century Paris, this is a curious foray by the director into period melodrama.
Craig's Wife Dorothy Arzner (USA) 1936 This melodrama sees another of the big Hollywood stars who worked under the orders of Dorothy Arzner, Rosalind Russell, play a domineering woman who marries a wealthy man for money and power.
The Bride Wore Red Dorothy Arzner (USA) 1937 Joan Crawford and a spectacular red dress by the famous designer Adrian star in one of Dorothy Arzner's most popular romantic comedies, a tale of love and luxury once again featuring an unforgettable female character.
Dance, Girl, Dance Dorothy Arzner (USA) 1940 Maureen O'Hara and Lucille Ball wrangle in a professional and sentimental duel set in the world of show business and spiced up with musical numbers.
First Comes Courage Dorothy Arzner (USA) 1943 Dorothy Arzner's last film was her contribution to the warring efforts of the allies during World War II; a spy story where Merle Oberon brings life to an anti-Nazi resistance worker in Norway who must choose between love and duty.
- 8/25/2014
- by Sydney Levine
- Sydney's Buzz
As the only woman to carve out a professional career as a director in Hollywood’s Golden Age, Dorothy Arzner (1897-1979) was one of a kind in the history of American cinema. During its 62nd edition, the San Sebastian Festival will pay homage to the work of Arzner, today considered a pioneer in women’s incorporation to the film industry, proclaimed as a filmmaker of strong style and personality for which she earned undeniable prestige within the Hollywood studio system.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner’s parents ran a café popular with the famous actors and movie directors of the time, including Charles Chaplin, William S. Hart and Erich von Stroheim. Having obtained a degree at the University of Southern Carolina and after a stint as an ambulance driver in World War I, Arzner began a career in the world of journalism. However, introduction by a mutual friend to the director William C. de Mille (brother of the famous Cecil B. DeMille) was to forever change the direction of her life: following a visit to a film studio, she decided to become a film director. Her first work in the film industry was as a stenographer at the Players-Lasky studios (later to become Paramount), transcribing film scripts. Her skills and strong nature opened the way to works of greater responsibility: script writer, script girl and, finally, editor. It was there in the editing room that Arzner earned her excellent reputation i n the Hollywood movie industry, working on 52 films and assiduously collaborating with the filmmaker, James Cruze. In the famous motion picture starring Rudolph Valentino, Blood and Sand (1922), apart from her brilliant editing work, Arzner helmed the second unit crew for the bull-fighting scenes. She also worked as a script writer on some of Cruze’s films.
The tenacious artist pressed Paramount to let her direct a film, threatening the studio bosses with the acceptance of an offer from their rivals at Columbia. Finally, she made her directorial debut on Fashions for Women (1927), and the following year became the first woman ever to direct a talkie, Manhattan Cocktail (1928). Arzner went on to helm another 15 films in the 30s and early 40s, working with some of the greatest Hollywood stars like Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and dramas powerfully focused on women characters: The Wild Party (1929), Anybody's Woman (1930), Sarah and Son (1930), Honor Among Lovers (1931), Working Girls (1931), Merrily We Go to Hell (1932), Christopher Strong (1933), Nana (1934), Craig's Wife (1936) and The Bride Wore Red (1937).
In 1933 she became the first woman member of the Directors Guild of America and indeed remained its only female associate for several decades. She also went down in history as the inventor of the first boom mike for having used a microphone attached to a fishing rod when filming the early talkies.
Although she gradually fell from prominence, Arzner’s career was championed in the 60s by the feminist movements and she received several tributes, including one by the Directors Guild of America in 1975. Today her filmography is not only newly appreciated as an extremely unusual exception in the history of American film, but also for its intrinsic values. Arzner left her mark through a series of movies of refined visual style that questioned the traditional sexual roles of the time and the part played by woman in society or which, according to certain critics, introduced veiled lesbian undertones to the rigid Hollywood structure of the moment.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will be organized in collaboration with Filmoteca Española. The cycle will be complemented with a publication on her figure and work.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner’s parents ran a café popular with the famous actors and movie directors of the time, including Charles Chaplin, William S. Hart and Erich von Stroheim. Having obtained a degree at the University of Southern Carolina and after a stint as an ambulance driver in World War I, Arzner began a career in the world of journalism. However, introduction by a mutual friend to the director William C. de Mille (brother of the famous Cecil B. DeMille) was to forever change the direction of her life: following a visit to a film studio, she decided to become a film director. Her first work in the film industry was as a stenographer at the Players-Lasky studios (later to become Paramount), transcribing film scripts. Her skills and strong nature opened the way to works of greater responsibility: script writer, script girl and, finally, editor. It was there in the editing room that Arzner earned her excellent reputation i n the Hollywood movie industry, working on 52 films and assiduously collaborating with the filmmaker, James Cruze. In the famous motion picture starring Rudolph Valentino, Blood and Sand (1922), apart from her brilliant editing work, Arzner helmed the second unit crew for the bull-fighting scenes. She also worked as a script writer on some of Cruze’s films.
The tenacious artist pressed Paramount to let her direct a film, threatening the studio bosses with the acceptance of an offer from their rivals at Columbia. Finally, she made her directorial debut on Fashions for Women (1927), and the following year became the first woman ever to direct a talkie, Manhattan Cocktail (1928). Arzner went on to helm another 15 films in the 30s and early 40s, working with some of the greatest Hollywood stars like Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and dramas powerfully focused on women characters: The Wild Party (1929), Anybody's Woman (1930), Sarah and Son (1930), Honor Among Lovers (1931), Working Girls (1931), Merrily We Go to Hell (1932), Christopher Strong (1933), Nana (1934), Craig's Wife (1936) and The Bride Wore Red (1937).
In 1933 she became the first woman member of the Directors Guild of America and indeed remained its only female associate for several decades. She also went down in history as the inventor of the first boom mike for having used a microphone attached to a fishing rod when filming the early talkies.
Although she gradually fell from prominence, Arzner’s career was championed in the 60s by the feminist movements and she received several tributes, including one by the Directors Guild of America in 1975. Today her filmography is not only newly appreciated as an extremely unusual exception in the history of American film, but also for its intrinsic values. Arzner left her mark through a series of movies of refined visual style that questioned the traditional sexual roles of the time and the part played by woman in society or which, according to certain critics, introduced veiled lesbian undertones to the rigid Hollywood structure of the moment.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will be organized in collaboration with Filmoteca Española. The cycle will be complemented with a publication on her figure and work.
- 4/19/2014
- by Sydney Levine
- Sydney's Buzz
Melissa Gilbert, 48, married Thirtysomething star Timothy Busfield, 55, in a private ceremony in Santa Barbara, Calif. on April 24, her rep confirms to Et.
Pics: The Most Memorable Celebrity Weddings of All Time
The couple, who got engaged over the holidays, had their wedding at San Ysidro Ranch. The bride wore red.
Video: Melissa Gilbert Opens Up About Past Addiction
Gilbert and Busfield's nuptials will mark the third "I do's" for each of them. Gilbert was previously married to Bo Brinkman and Bruce Boxleitner, while Busfield was married to Jenny Merwin and actress Radha Delamarter.
Pics: The Most Memorable Celebrity Weddings of All Time
The couple, who got engaged over the holidays, had their wedding at San Ysidro Ranch. The bride wore red.
Video: Melissa Gilbert Opens Up About Past Addiction
Gilbert and Busfield's nuptials will mark the third "I do's" for each of them. Gilbert was previously married to Bo Brinkman and Bruce Boxleitner, while Busfield was married to Jenny Merwin and actress Radha Delamarter.
- 4/25/2013
- Entertainment Tonight
Over the years, Psych has proven itself capable of being smart, funny, and romantic, with the occasional jaw-dropping plot twist. This episode manages to have each of these things, though nothing is as as well-crafted as the plot twist at the end.
In a way, “Deez Nups” is a visual tribute to how far the show has come since the pilot. Back at the beginning, Carlton (Tim Omundson) was newly divorced with a chip on his shoulder the size of Canada and an anger problem to boot. The anger is still there, but there’s also a grudging friendship – or at the very least, respect – that’s grown between him and Shawn (James Roday). The addition of Marlowe (Kirsty Swanson) has allowed viewers the chance to see a softer side that at one time seemed nearly impossible.
One of the more interesting threads ...
Click to continue reading ‘Psych’ Season 7, Episode...
In a way, “Deez Nups” is a visual tribute to how far the show has come since the pilot. Back at the beginning, Carlton (Tim Omundson) was newly divorced with a chip on his shoulder the size of Canada and an anger problem to boot. The anger is still there, but there’s also a grudging friendship – or at the very least, respect – that’s grown between him and Shawn (James Roday). The addition of Marlowe (Kirsty Swanson) has allowed viewers the chance to see a softer side that at one time seemed nearly impossible.
One of the more interesting threads ...
Click to continue reading ‘Psych’ Season 7, Episode...
- 4/11/2013
- by Heather Donmoyer
- ScreenRant
From Dorothy's shoes to Christian Bale's batsuit, costume is a crucial, although often unnoticed, part of film. Bee Wilson takes a tour of Hollywood's wardrobe department at the V&A's starry new exhibition
Carole Lombard "was just a tootsie when she came to Paramount," a movie insider once remarked. What transformed Lombard into a 1930s screwball goddess, the most highly paid in Hollywood in her day, were her gorgeous costumes, flowing, ornate and bias-cut. Designer Travis Banton "saw things in her even she didn't know she had". It was said of Banton that he could take a girl to lunch and instantly see what qualities he needed to accentuate. In Lombard's case, he weighted the gowns to drag backwards, giving her the elongated stature of a star. One of Lombard's most dazzling Banton dresses can be seen in the forthcoming Hollywood Costume show at the V&A. It is...
Carole Lombard "was just a tootsie when she came to Paramount," a movie insider once remarked. What transformed Lombard into a 1930s screwball goddess, the most highly paid in Hollywood in her day, were her gorgeous costumes, flowing, ornate and bias-cut. Designer Travis Banton "saw things in her even she didn't know she had". It was said of Banton that he could take a girl to lunch and instantly see what qualities he needed to accentuate. In Lombard's case, he weighted the gowns to drag backwards, giving her the elongated stature of a star. One of Lombard's most dazzling Banton dresses can be seen in the forthcoming Hollywood Costume show at the V&A. It is...
- 10/12/2012
- by Bee Wilson
- The Guardian - Film News
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Hollywood costume comes to London’s Victoria & Albert Museum in what has to be the most exciting exhibition of its type ever announced. Presided over by costume designer and Senior Guest Curator, Prof. Deborah Nadoolman Landis, this event aims to provide more than a collection of pretty frocks and suits from the movies; this is the story of a craft.
Today was the press launch for ‘Hollywood Costume’ (sponsored by Harry Winston), which does not officially open to public until 20th October. While Clothes on Film were unable to attend the event, we can promise some involvement on a more direct level –which we will reveal nearer the time.
In the exhibition: Ruth Morley's memorable contemporary costume for Robert De Niro in Taxi Driver.
Onto...
Hollywood costume comes to London’s Victoria & Albert Museum in what has to be the most exciting exhibition of its type ever announced. Presided over by costume designer and Senior Guest Curator, Prof. Deborah Nadoolman Landis, this event aims to provide more than a collection of pretty frocks and suits from the movies; this is the story of a craft.
Today was the press launch for ‘Hollywood Costume’ (sponsored by Harry Winston), which does not officially open to public until 20th October. While Clothes on Film were unable to attend the event, we can promise some involvement on a more direct level –which we will reveal nearer the time.
In the exhibition: Ruth Morley's memorable contemporary costume for Robert De Niro in Taxi Driver.
Onto...
- 1/20/2012
- by Chris Laverty
- Clothes on Film
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