Word: filming
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Dates: during 1930-1939
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...patriotism that makes the eagle scream. By last week no capitalist had made public protest. But because the picture (possibly in an attempt to avoid the susceptibilities of warring union factions) shows the workers unorganized and misled by an outside agitator, organized labor's box-office pressure group, Film Audiences for Democracy, was last week threatening a boycott...
...version of what the New York Herald's James Gordon Bennett Jr. regarded as the greatest news story of all time: the search for vanished British Missionary David Livingstone by the Floyd Gibbons of his age, Mr. Bennett's Henry Morton Stanley. To make the film, Producer Darryl Zanuck sent Mrs. Osa Johnson and a crew of technicians and extras to Africa for six months, had them assemble an authentic, awe-inspiring record of a savage country and people that would have scared Tarzan out of his breechclout. Back in Hollywood, Zanuck turned his album over...
...most industrious cinematic flagwaver, sent his director-brother, Zoltan, and practically his entire cast to the Sudan, where they stumbled over some of the actual shells Kitchener had left behind, tottered in temperatures of 120° in the breeze. Able Actor Ralph Richardson, who suffers a sunstroke in the film, never mimed more realistically...
...while younger cinemaddicts are following less than breathlessly the mystery over who stole that sapphire of sapphires, the Blue Water. Both will be apt to find the fraternal devotion of the Gestes rather mawkish, Actor Gary Cooper something short of the Beau ideal. Although the desert suspense of the film's opening at desolate Fort Zinderneuf and the starkness of the dead men propped up in the embrasures (both copied take for take from the 1926 picture) are still slick, and Actor Brian Donlevy outvillains his predecessor Noah Beery, Beau Geste illustrates the truth that, in recapturing some...
...cinema industry of the world split into ideological hemispheres last month when Great Britain, France and the U. S. withdrew from the Venice International Film Festival (TIME, July 3). Last week the musical world showed signs of a similar division. The Rome-Berlin Axis was much in evidence at Bayreuth, Wagnerian shrine, where the stodgy, Nazi-favored conductors of recent years were joined by an Italian, Victor de Sabata. In Salzburg, which Anschluss knocked off the list of international smart-spots, four of seven scheduled operas were to be given in Italian, two of them with Italian casts, under Tullio...