Word: darryl
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...decades of pioneering, Warner's offerings include an undistinguished musical-biography (Night and Day), a couple of tired remakes (Of Human Bondage, One More Tomorrow), two thin little comedies (Janie Gets Married, Two Guys from Milwaukee). Gone to other studios are Warner's oldtime skilled craftsmen Darryl Zanuck, Hal Wallis, Ernest Lubitsch, William Dieterle, Mervyn...
...publicists are excited about is screen newcomer Nancy Guild, who looks, talks and acts a bit too much like the same studio's Gene Tierney for her own good. Nancy was a University of Arizona coed until LIFE recently printed some photographs of her modeling college-girl fashions. Darryl Zanuck took one look, issued the necessary ringing proclamation; a new leading lady was born...
Amber got kicked out of bed. After 38 days of exposure (at $10,000 a day), the multimillion-dollar boudoir epic looked like a bust to Darryl Zanuck, who decided to throw it all away and try again, later. Blonde little Peggy Cummins, British actress who had been chosen to play the lead, was apparently out of a job. But she got another. After all that buildup as a Restoration pillow-fighter she was suddenly transferred to Bob, Son of Battle-something wholesome about a sheep...
International's production boss is round-faced, even-tempered William Goetz, 42, who did a bang-up job of running 20th Century-Fox while Darryl Zanuck was a colonel in the Army. After making the Academy Award picture, The Song of Bernadette, Goetz quit in a huff when Zanuck returned and began acting like a "little colonel" around the studio. Goetz approached dark, dapper Leo Spitz, 57, Hollywood's legal and financial know-it-all. A boy wonder (he earned his Bachelor of Philosophy and Doctor of Jurisprudence degrees before he was 21), Spitz masterminded the reorganization...
There is very little to distinguish this show from the bright, glossy Technicolored musicals which Darryl Zanuck dishes out several times each year. Like all the others, The Dolly Sisters, which launches George Jessel as a Hollywood producer, has a plot concocted of time-tested staples: the kindly, absent-minded accent (S. K. Sakall); the handsome, threadbare song-plugger (John Payne); the rich, respectable fop (Reginald Gardiner); the old-time hit tune (I'm Always Chasing Rainbows); the lavish dance sequence (performed in blackface on a 75-foot banjo to the tune of Darktown Strutters' Ball). The only...