Word: goldwynisms
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...jobless in the Depression '30s, he gets a job as manager of the Pantheon, a wretched Fowlers End movie-vaudeville house owned by Sam Yudenow. It is Sam who dominates the book, a grasping, greedy, devious monster whose hilariously disarranged speech makes the best lines attributed to Sam Goldwyn read like decorous bits from Fowler's Modern English Usage. He is a devoted movie fan, particularly of westerns: "Bing, bash, bosh-another foreskin bites the dusk!" Sam informs his new manager that he will have to use his nishertive as well as clever tictacs to hold...
...down, Producer Sam Goldwyn got the film rights to George Gershwin's Negro folk opera Porgy and Bess. Gershwin's estate and other beneficiaries will get a straight 10% of the movie's gross receipts. Goldwyn, reportedly seeking Calypsinger Harry Belafonte to head an all-Negro cast, plans to release Porgy late next year...
...Cannes Film Festival made news with its film entries rather than with the spectacle of unknown starlets baring things for the photographers. The festival's French judges had mixed feelings about Metro-Goldwyn-Mayer's film version of Columnist Robert Ruark's Something of Value. Reason: Something is some affront to most Frenchmen; its story of British colonialism's bitter fruit in Kenya unhappily resembles France's current gory predicament in Algeria. M-G-M unhappily scratched this entry. Most sensational movie shown in Cannes was the Soviet Union's The Forty-First, marking...
...from it have generally lost their sense of humor on the subject. Nonetheless, Edward Chodorov's play had a startling success in Manhattan, where the largest group of U.S. psychoanalysts lives and practices-apparently as a sort of cut-rate abreaction for those who agree with Sam Goldwyn that "anybody who would go to a psychoanalyst ought to have his head examined." Yet as a film, it will probably confuse the millions to whom an analysis is something that comes back from the laboratory the doctor sent the bottle...
...undue influence of particular groups in regard for a broader popular taste and artistic integrity. Perhaps with time and with liberal support, the industry will assert itself towards removing these hindrances to free expression and will raise the stature of the American cinema to a creative art. As Sam Goldwyn said, speaking for the industry, "We should and must have the same right as any other medium to say what we think, and to show what really exists...