Word: wanger
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...playing Sibelius, by the great Finn himself. But when the New York Philharmonic-Symphony tried him in 1934, Janssen failed to click. He went to Hollywood, wrote the score for The General Died At Dawn, married Actress Ann Harding. For two years Janssen has carpentered music for Walter Wanger...
...play, the whole action was compressed in a single setting: the rich and somberly draped living-room of the Giddons plantation. The effect was an intense feeling of constriction which perfectly reflected the emotional repressions of its characters. Walter Wanger's movie loses much of this feeling; its scenarists have weakened the impression by grafting on all the conventional trappings of Southern plantation life. The twi-light spirituals of darkies--as well as the added love-interest--are pleasant enough, but superfluous...
...sold out, his fee was raised to $300; when he had doubled this output, it was raised to $400. Meanwhile Impresario Lewenthal scouted around, getting his artists extra jobs in magazine, illustration and display work. His strangest piece of extracurricular job finding came last year, when Cinema Producer Walter Wanger hired nine of Lewenthal's best artists to go to Hollywood and paint scenes from the picture-in-progress, The Long Voyage Home (TIME...
...snappy little Spitfire fighter planes. Titled from one of Winston Churchill's throbbing phrases, it will be called The First of the Few, will be produced with the aid of Mitchell's widow, Vickers-Armstrongs and the Air Ministry. Also interested is Hollywood Producer Walter Wanger, who has a representative in London arranging for a movie about the American Eagle Squadron. Laurence Olivier, back in England after a long spell in the U.S., is now at work on 49th Parallel, a thriller about the battle against the submarines. Ships with Wings is the title for a Fleet...
...best Walter Wanger tradition, "The Long Voyage Home" opens new prospects to moviedom. It carries the technique of suspense beyond the stage of "Foreign Correspondent." Hitchcock's suspense is inherently melodramatic, whereas John Ford's is self-contained atmosphere, bovering over a plot of merely secondary importance. The subject of "The Long Voyage Home" is mainly an impression, a dismal portrait of futility...