Word: fredric
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Dates: during 1930-1939
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...Fredric March plays the moody, restive adventurer with admirable restraint and vigor, and Olivia de Havilland gives a vivid likeness of the passionate and equally vacillatory heroine. The ponderous weight of the thing is distinctly felt at the occasional points where Anthony becomes a prosaic globe trotter, but his genius for running into adversity usually lends the needed romance...
...picture. As revealed last week, the answer is extremely simple. Warner Brothers do not succeed in anything of the sort because they do not try. Although the picture is twice as long (2 hr. 19 min.), as an average Hollywood production, it carries Author Allen's celebrated adventurer (Fredric March) through only about two-thirds of his career, leaves its climax to the imagination or to a sequel...
Thanks a Million. To get Dick Powell for the lead in this topical, pell-mell musical cinema. Producer Zanuck traded Fredric March to Warner Bros, for Anthony Adverse. A troupe of entertainers, stuck in a small town on a rainy night, strangle into a political rally to get dry and become part of the election machinery when Troupe Manager Fred Allen sells the candidate for Governor the idea of spicing up his speeches with songs by the Yacht Club Boys, Rubinoffs fiddling. Before long Dick Powell wins the party nomination, campaigns successfully with speeches guaranteed not to last more than...
Alan Trent (Fredric March), Kitty Vane (Merle Oberon) and Gerald Shannon (Herbert Marshall) grow up together in England in time to have their already complicated emotional patterns tangled further by the War. Alan and Kitty love each other. Gerald also loves Kitty. Consequently, when he suspects Alan of spending a night in less fastidiously chosen company just before they sail for France, he goes into a rage. The result of this "out there" is a dangerous assignment for Alan, from which he fails to return. When Gerald gets back to England, he learns that the girl with whom Alan spent...
...second, called Love and released by Metro-Goldwyn-Mayer in 1927, was distinguished by an exhibit of passionate eye-rolling unmatched by anything in his later career on the part of John Gilbert. For these features, the current edition substitutes a thoroughly sane characterization of the hero by Fredric March and a decent, if not altogether unwavering, respect for the intentions of its original. The second and third versions of Anna Karenina still have two important things in common. These are a superb portrayal of Anna by Greta Garbo and a story which, like many masterpieces of the world...