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
'Ben-Hur' 1959 with Stephen Boyd and Charlton Heston: TCM's '31 Days of Oscar.' '31 Days of Oscar': 'Lawrence of Arabia' and 'Ben-Hur' are in, Paramount stars are out Today, Feb. 1, '16, Turner Classic Movies is kicking off the 21st edition of its “31 Days of Oscar.” While the Academy of Motion Picture Arts and Sciences is being vociferously reviled for its “lack of diversity” – more on that appallingly myopic, self-serving, and double-standard-embracing furore in an upcoming post – TCM is celebrating nearly nine decades of the Academy Awards. That's the good news. The disappointing news is that if you're expecting to find rare Paramount, Universal, or Fox/20th Century Fox entries in the mix, you're out of luck. So, missing from the TCM schedule are, among others: Best Actress nominees Ruth Chatterton in Sarah and Son, Nancy Carroll in The Devil's Holiday, Claudette Colbert in Private Worlds. Unofficial Best Actor...
- 2/2/2016
- by Andre Soares
- Alt Film Guide
'Sorrell and Son' with H.B. Warner and Alice Joyce. 'Sorrell and Son' 1927 movie: Long thought lost, surprisingly effective father-love melodrama stars a superlative H.B. Warner Partially shot on location in England and produced independently by director Herbert Brenon at Joseph M. Schenck's United Artists, the 1927 Sorrell and Son is a skillful melodrama about paternal devotion in the face of both personal and social adversity. This long-thought-lost version of Warwick Deeping's 1925 bestseller benefits greatly from the veteran Brenon's assured direction, deservedly shortlisted in the first year of the Academy Awards.* Crucial to the film's effectiveness, however, is the portrayal of its central character, a war-scarred Englishman who sacrifices it all for the happiness of his son. Luckily, the London-born H.B. Warner, best remembered for playing Jesus Christ in another 1927 release, Cecil B. DeMille's The King of Kings, is the embodiment of honesty, selflessness, and devotion. Less is...
- 10/9/2015
- by Andre Soares
- Alt Film Guide
'Cat People' 1942 actress Simone Simon Remembered: Starred in Jacques Tourneur's cult horror movie classic (photo: Simone Simon in 'Cat People') Pert, pouty, pretty Simone Simon is best remembered for her starring roles in Jacques Tourneur's cult horror movie Cat People (1942) and in Jean Renoir's French film noir La Bête Humaine (1938). Long before Brigitte Bardot, Mamie Van Doren, Ann-Margret, and (for a few years) Jane Fonda became known as cinema's Sex Kittens, Simone Simon exuded feline charm in a film career that spanned a quarter of a century. From the early '30s to the mid-'50s, she seduced men young and old on both sides of the Atlantic – at times, with fatal results. During that period, Simon was featured in nearly 40 movies in France, Italy, Germany, Britain, and Hollywood. Besides Jean Renoir, in her native country she worked for the likes of Jacqueline Audry...
- 2/6/2015
- 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
Montiel movies: From the blockbuster La Violetera to new versions of Carmen and Camille (Please check out the previous post: "Legendary Spanish Star Dead at 85."] Next in line for the sensual, husky-voice performer was a second tear-jerking hit: Luis César Amadori's La Violetera ("The Violet Peddler," 1958), for which Montiel is supposed to have earned $1 million dollars. In this romantic musical melodrama, she plays Soledad Moreno, a flower seller in the Madrid of the early 1900s, who falls in passionately love with an aristocrat played by Italian star Raf Vallone. As to be expected, class issues arise. Soledad flees for France, where she becomes (surprise!) a singing sensation. What follows includes tears, despair, a deadly iceberg (heard of the Titanic?), psychological and physiological trauma, and, finally, eternal love. Pictured above: A very sexy Montiel in a risque Gina Lollobrigida-like pose. “La violetera was even bigger than El último cuplé,...
- 4/10/2013
- by Andre Soares
- Alt Film Guide
Britain's Got Talent star Michael Collings has moved into a house with his girlfriend, it has been revealed. According to The Sun, the guitar player and singer has left his parents' caravan to share a two-bedroom council house with his partner Sarah and son Jamie. The new property is in his hometown of Whitleigh, Devon. "Michael loved the caravan and has no regrets about that part of his life," said a source. "But he is a dad now and wants to bring up his son as a family with Sarah. They've (more)...
- 5/12/2011
- by By Alex Fletcher
- Digital Spy
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.