Word: rko
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...been the privilege of heterosexuals. Anything else was a threat, a jolt, anathema to the theology of movie fantasy. In 1936, when Samuel Goldwyn filmed These Three, from Lillian Hellman's play The Children's Hour, he removed the accusation of lesbianism from the plot. In 1947's Crossfire, RKO changed the homophobia theme to anti- Semitism. Interracial tolerance was in the air; homoeroticism may have lurked under every gruff bonding between cowboys, gangsters or G.I.s, but as for gay love, Hollywood dared not speak its name...
...seen. The New Yorker dismissed it in a vitriolic and condescending article. Bosley Crowther of The New York Times championed it. Most people wondered that a good film should have come out of Japan at all, attributing its merits to the effects of the American occupation. In any case, RKO Pictures picked up the distribution rights, and "Rashomon" became a success, going on to win the Oscar for best foreign film...
...over by better organized competitors. Thomson hints at a streak of madness in the Selznick line (one brother, Myron, a legendary Hollywood agent, died of alcoholism; another was institutionalized for many years). But in David's case it looked at first like genius. He was head of production at RKO at 30, had his own unit at MGM a year later, his own company four years after that. And he oversaw some of his best pictures in that period: King Kong, David Copperfield and a terrific movie about moviemakers, What Price Hollywood?, self-knowing, self-satirizing. Along the way, Selznick...
...right he was. More than any other great director, Welles suffered a career of fits and starts: he would start a film, and then his niggly investors would give him fits. (The ill feeling was mutual.) In Hollywood, Welles was effectively banished by his early 30s. RKO Radio Pictures chopped The Magnificent Ambersons, Welles' brilliant follow-up to Kane, by a third (from 131 min. to 88), ordered a new ending shot by a different director and even sent Ambersons out as the bottom half of a double feature, in support of Mexican Spitfire Sees a Ghost. Republic Pictures...
During the forties, Val Newton of RKO Pictures produced a series of romantic, moody horror movies that relied on shadows in the dark--and not pools of blood--to scare its audience...