Word: directors
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Dates: during 1930-1939
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...ringer for Neville Chamberlain, he impersonated the British Prime Minister in the last Gridiron show with no make-up except an umbrella. Last week Jim Preston's long and honorable career reached an appropriate climax. He accepted an invitation to go to Hollywood as technical adviser on Director Frank Capra's forthcoming Mr. Smith Goes to Washington...
...went to U. S. C., studied law, played on the rugby team. After college, Leo McCarey tried work in a San Francisco law office, quit to tour the Orpheum circuit as a boxer, did pick-&-shovel work in Montana mines, returned to Hollywood, where a chance meeting with Director Tod Browning got him into the cinema industry. That was in 1918. Two years later, McCarey got a job as gag man and writer for Hal Roach which he held for a decade. In 1933 he went to Paramount, earned a place as one of the industry's top-notch...
Difference between a mere director and a producer-director is that a director's ideas about cinemanufacture are subject to discussion, modification, veto by his producer, but a producer-director is edited by no one but himself. In addition to credit for producing and directing Love Affair, McCarey gets credit, with Mildred Cram, for the original story. As close to a one-man show as any $850,000 picture can be, Love Affair is pleasantly free from the assembly-belt characteristics that mar many . Hollywood products. It also exhibits the need for the merciless editing that few directors...
Concerned with nothing more than the romantic meeting and somewhat prolonged courtship of a European fortune hunter (Charles Boyer) and a Kansas-bred nightclub singer (Irene Dunne), it frequently falters in pace. It also includes a few sequences which, reminiscent of Director McCarey's work for Hal Roach, are among the most adroit cinematic touches of the year. Good shot: Irene Dunne, prevented from getting married to Boyer when a car cripples her legs, waking up to fave the consequences in a hospital...
...realize that he was moving. Like most visitors subjected to the same experience, it seemed to him that he was stationary, that the whole central well of the observatory (solidly anchored through concrete pillars to bedrock) was turning in the opposite direction. The observatory's able, wry director, Walter Sydney Adams, explained that it was an illusion. "You know," he said. "Relativity...