Word: lena
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...racial unity had to be played up in numerous wartime morale-boosting movies. More diverse images of Blacks proliferated in Hollywood--major studios even made Black cast movies of their own (i.e. MGM's "Cabin in the Sky" (1943) directed by Vincent Minelli and starring Eddie "Rochester" Anderson, Lena Horne and Ethel Waters)--so the independent race movie makers were squeezed out of the market, unable to compete with the slickness and polish of higher budget Hollywood films...
From the '50s onward, then, Hollywood began to move away from the bug-eyed, watermelon-eating portrayals of African-Americans that abounded in the '30s, introducing a wider variety of characters. As Stepin Fetchit became a phenomenon of the past, stars like Lena Horne and Sidney Poitier were born. Nevertheless, the roles available to Blacks were still basically tame--musicians, functionaries, and other characters that did little to challenge the status quo. The few movies that did have an edge to them were poorly distributed or received criticism for being too incendiary. For example, 20th Century Fox's controversial...
...interested in advertising should be struck by the way the producers and distributors tried to market their films, and what aspects of the movies the posters highlight. For example, the original poster for "The Duke Is Tops" (1938) features Ralph Cooper's name emblazoned boldly across it and Lena Horne's name in the fine print at the bottom. In the re-release of the film after Lena Horne achieved stardom in "Cabin in the Sky" and "Stormy Weather," the film is retitled "The Bronze Venus," and the posters focus on her now marketable name and face...
...technique, visual bestartlements that fling us, edgy and disconcerted, from 1974 Pittsburgh, where the film's framing action takes place, to England in the wartime '40s. There, in the Fens, the ; East Anglian coastal marshlands that provide the film's title, the young Tom and Mary (Grant Warnock and Lena Headey) fall in love...
...Films begin with the human face," Bergman said, and he filled his screen with the faces of many great actresses, from Bibi and Harriet Andersson to Liv Ullmann and Lena Olin. Even after retiring as a film director, Bergman was still an ace casting director. This time he insisted that Ostergren, who played the maid in Fanny and Alexander, be cast as Anna. It is the film's great coup. She is not exactly beautiful, but her conviction and radiance carry the story's emotional burden: that such a woman could love such a man. The strength of her love...