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Topic: 1946 in film

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  Encyclopedia: 1946 in film
Film refers to the celluloid media on which movies are printed Film is a term that encompasses motion pictures as individual projects, as well as the field in general.
Leave Her to Heaven is a 1945 film noir which tells the story of a man who gradually realizes that his wifes insane jealousy may be the cause of several tragedies in his life.
The Yearling is a 1946 film which tells the story of a boy who adopts a fawn as a pet.
www.nationmaster.com /encyclopedia/1946-in-film   (2662 words)

 The Killers (1946 film) - Wikipedia, the free encyclopedia
The Killers, also known as Ernest Hemingway's The Killers is a fl and white film noir directed by Robert Siodmak and starring Burt Lancaster.
The film is based on the Ernest Hemingway story of the same name.
Actors Charles McGraw and William Conrad play the hit men in the film, however the rest of the story, told in flashback, was created (rumored to be written by uncredited John Huston) solely for the film.
en.wikipedia.org /wiki/The_Killers_(1946_film)   (259 words)

 Burt Lancaster - Wikipedia, the free encyclopedia   (Site not responding. Last check: 2007-11-06)
In most of his roles, whether in drama, circus, western or other genres, the self-taught actor was successful; he evolved into a solid and versatile performer and eventually a superstar.
He produced a number of films himself and also mentored such new directors as Sydney Pollack and John Frankenheimer, thus adding to his numerous acting achievements a pioneering role the development of.
His second marriage was with Norma Anderson from 1946 to 1969 and also ended in divorce.
www.secaucus.us /project/wikipedia/index.php/Burt_Lancaster   (608 words)

 1946: Hollywood and the great directors   (Site not responding. Last check: 2007-11-06)
The year 1939 is regarded by most film historians as the pinnacle of success and legitimacy in the short history of Hollywood.
Prior to 1946 the American film industry was a separate component in cinema annals—different by its sheer size, structure, and its success in world film domination.
Film Noir was shaped by the experience of war’s horrors, by the deep-rooted anxieties touched off by the dawn of the nuclear age, and by the difficult post-war adjustments faced by thousands of returning veterans.
www.moderntimes.com /palace/1946.htm   (1234 words)

 1946 always film in postman ring twice wife   (Site not responding. Last check: 2007-11-06)
1946 film the postman always ring twice into lord of the ring film cell.
This website has information on lord of the ring film and 1946 always film in postman ring twice wife.
Article: 1946 always film in postman ring twice wife - 1946 film the postman always ring twice is required for cinema 4d model, lord of the ring film cell cannot be colorado film school, lord of the ring film by batman on film, 1946 always film in postman ring twice wife.
filming.atspace.com /filmi/1946.always.film.in.postman.ring.twice.wife.html   (170 words)

 Film noir and the German-Hollywood Connection
In film noir, events often occur in the dark of night, and the characters also tend to have their dark side.
Despite many variations, most film noir heroes/villains are paranoid loners headed for some dark destiny, but who nevertheless manage to exchange a few snappy lines of dialog with the inevitable femme fatale along the way.
Purists claim that “true” film noir can't be in color, which would exclude almost all of the neo-noir films from the 1960s to the present.
www.germanhollywood.com /noir.html   (1078 words)

 At-A-Glance Film Reviews: Gilda (1946)
Rita Hayworth is arguably best known for her title role in Gilda, a sympathetic femme fatale who complicates an already complicated partnership between the underhanded owner of a gambling joint and his new right-hand man. There are dark, conflicting emotions at play here, and they intertwine together in a greatly entertaining character thriller.
It's obvious the writers understand their characters, and so it is all the more baffling when the film winds down to its only serious -- and unfortunately crippling -- flaw.
The ending of the movie cannot be taken seriously by an intelligent viewer; the characters do not deserve it, and it's impossible to conceive that the issues they have are as resolved as the film suggests.
www.rinkworks.com /movies/m/gilda.1946.shtml   (246 words)

 Gilda (1946)
Gilda (1946) contains the most famous role and peak performance of WWII's GI "love goddess," the beautiful, alluring, and provocative, red-haired pin-up Rita Hayworth - with her sleek and sophisticated eroticism, lush hair and peaches and cream complexion.
The semi-trashy crime drama is also known for the erotic strains of the strange, tawdry, aberrant romantic triangle (menage a trois) between the three main characters.
Farrell, who opens the film with this line: "To me a dollar was a dollar in any language," has just swindled American sailors with loaded dice in a game of craps played in a waterfront dive.
www.filmsite.org /gild.html   (1642 words)

 Lindesmith v. Anslinger: An early government victory in the failed war on drugs
As a documentary film, almost naive in tone and unsophisticated in its articulation of narcotics addiction, it is a relic.
Yet striking themes continue to emanate from the film, particularly its challenge to the racial bias that bolstered FBN rhetoric and to that organization's assertion of the criminal status of the addict.
Following the banning of the film, Anslinger and the FBN were twice able to convince Congress to stiffen drug penalties and thus set the nation on a course that has led to its current failed drug policy.
www.druglibrary.org /SCHAFFER/HISTORY/anslingerlindesmith.htm   (5519 words)

 La symphonie pastorale / 1946 / film review / Jean Delannoy
Delannoy paints a tragic scenario where individual happiness is destroyed by the constraints of convention and false expectations, and the film’s conclusion is perhaps one of the most tragic and upsetting in cinema history.
The film is beautifully photographed, and one easily senses the isolation and remoteness of the small village community.
There is scarcely a scene in the film where she fails to trigger an emotional response.
frenchfilms.topcities.com /nf_La_symphonie_pastorale_rev.html   (517 words)

 Laurence Olivier - Wikipedia, the free encyclopedia   (Site not responding. Last check: 2007-11-06)
His stage breakthrough was in Noel Coward's Private Lives (in 1930), and in Romeo and Juliet (in 1935) alternating the roles of Romeo and Mercutio with John Gielgud.
His film breakthrough was his portrayal of Heathcliff in Wuthering Heights in 1939.
As a result between 1973 and 1986 when his health gave out he did many films and TV specials on a 'paycheck' basis on the condition that he would not have to promote the film on release.
www.bonneylake.us /project/wikipedia/index.php/Laurence_Olivier   (801 words)

 A 1946 Classroom Film About Bush's America... : Thunderbay IMC   (Site not responding. Last check: 2007-11-06)
But before 50s assembly-line conformity turned classroom films into campy jokes, production companies like Encyclopedia Britannica Films were capable of making pictures that even today remain high water marks of progressive education.
"Despotism", made in 1946 by EBF largely in response to the atrocities of European facism, is a prime example of a 1940s educational film that still has a valid message, especially in Bush's America.
I highly suggest using this film as a conversation starter with friends and family.
thunderbay.indymedia.org /mail.php?id=12110   (258 words)

 The Big Sleep (1946)
So combustible was the couple's chemistry that it resulted not only in a hit film, but also in a soon-to-be-legendary offscreen marriage and a string of movies throughout the 1940s tailor-made for their brand of heat.
Neither the 1945 nor the 1946 version boasts a pristine transfer, with some dust and scratches on the source prints in evidence, but the picture quality is acceptable and the Dolby Digital mono soundtrack is excellent.
He makes it clear that this was not a case where a film sat on the shelf because the studio perceived problems with it.
www.reel.com /movie.asp?MID=89&PID=10079063&buy=closed&Tab=reviews&CID=18   (841 words)

 Urban Legends Reference Pages: Disney (Song of the South)
The film has been criticized both for "making slavery appear pleasant" and "pretending slavery didn't exist", even though the film (like Harris' original collection of stories) is set after the Civil War and the abolition of slavery.
The NAACP acknowledged "the remarkable artistic merit" of the film when it was first released, but decried "the impression it gives of an idyllic master-slave relationship".
Although the film has only been released to the home video market in various European and Asian countries, Disney's reluctance to market it in the USA is not a reaction to an alleged threat by the NAACP to boycott Disney products.
www.snopes.com /disney/films/sots.htm   (930 words)

 slacktivist: Despotism, 1946   (Site not responding. Last check: 2007-11-06)
In 1946, the unjust or inequitable distribution of wealth was perceived as a dangerous tendency and a threat to democracy.
Watching this 1946 film gave me a real sense of how great a setback for democracy vs. despotism the rise of McCarthyism really was.
The studio had no qualms at the outset, but by the time they'd finished filming, they were worried that it might be "anti-American." Somewhere during that process, it had become treasonous to question consumerism.
slacktivist.typepad.com /slacktivist/2004/07/despotism_1946_1.html   (973 words)

 Internet Archive: Details: Despotism
This film should be shown in U.S. classrooms again, but since it is too close to the reality of the day, AND shows how the Pledge of Allegiance was originally done (without the mention of "God" added by the Joe McCarthy crowd a few years later), I doubt the current Bush regime would allow it.
The film presents four sliding scales, two of which are indicators of a current state of despotism (concentrated power, concentrated respect), and two which are danger signs for future despotism (concentrated wealth, restricted/controlled information).
Far from being dated, this film is a gripping reminder that despotism can and does take hold in democratic systems, thus the onus is on the citizenry to recognize the trends which lead to its rise.
www.archive.org /movies/details-db.php?collection=prelinger&collectionid=00178   (4210 words)

 A 1946 Classroom Film About Bush's America... : LA IMC   (Site not responding. Last check: 2007-11-06)
Throughout the 30s through the 70s, educational films were a mainstay of the American classroom.
This 11 minute picture clearly and dispassionately explores the social factors that lead to despotism, including rigged voting procedures, corporate consolidation, a lack of meaningful political debate, open racism, unbalanced taxation, media manipulation by private interests, and hollow jingoism.
The age of the film and its impartiality may help to prevent knee-jerk responses to its vital message.
la.indymedia.org /mail.php?id=103409   (263 words)

 Canadian Film: 1946-1970: Cooperation   (Site not responding. Last check: 2007-11-06)
The Canadian government agreed to let American films be distributed in Canada without any interference, thereby sacrificing their support for a feature film industry within their own country.
In return, Hollywood agreed to distribute NFB shorts, to be filmed in Canada, and to mention the country in screenplays.
Firstly, there were the many unsympathetic Canadian theatre owners who refused to showcase films done by their countrymen, which not only helped fuel public disinterest in Canadian cinema but also failed to get the filmmakers any measure of recognition.
www.mala.bc.ca /~soules/mTheory/vol3/cashman/cooperation.htm   (638 words)

 Film Review, The Big Sleep (12/10/97)
is one of the toughest detective films ever made, but not in the brass-knuckles sense.
And if one is willing to relinquish the burden of trying to parse the plot, one can then enjoy the movie's archly humorous dialogue (much of the film's first half plays like a comedy, a typical Hawksian approach to genre drama) as well as the taut set pieces.
This beefed-up version is the one film buffs have been watching for 50 years.
www.metrotimes.com /movies/filmarchive/18/11/18_11big.html   (564 words)

 Open Directory - Arts:Movies:Genres:Film Noir   (Site not responding. Last check: 2007-11-06)
Film noir was discovered and named by two French film critics in 1946.
Film noir ("fl film") refers to the dark or shadowed look and mood of an American film style largely influenced by German and Austrian directors.
Genre that boasts a prefix, as filmmakers have increasingly transposed those atmospheric elements typical of one of the cinema's favorite genres from their original genesis in post-war angst to the stressed-out present day, so successfully as to banish any sense of the hybrid.
dmoz.org /Arts/Movies/Genres/Film_Noir/desc.html   (262 words)

 Lauren Bacall - Wikipedia, the free encyclopedia   (Site not responding. Last check: 2007-11-06)
Lauren Bacall (born September 16, 1924) is a legendary American film and stage actress.
Known for her comedic skills and sultry voice, she became a fashion icon and role model for modern-day women early in her career.
She also starred with Bogart in The Big Sleep (1946), Dark Passage (1947), and Key Largo (1948).
www.pineville.us /project/wikipedia/index.php/Lauren_Bacall   (330 words)

 The Killers (1946)
Don Siegel, who directed the made-for-TV version but couldn't make the first film because he was under contract, admits in one of the DVD's extras that the 1946 film "tailed off" after the chilling opening that remained faithful to Hemingway's story.
The 1946 version is narrated from the point of view of a trained outsider, while Siegel chose one of the killers as his point-of-view character, and the racing back story and flashbacks are livelier and more interesting than the boxing world segments from the original adaptation.
The film is presented in 1.33:1 ratio, as it appeared in theaters, and beautifully restored and remastered from a 35mm nitrate fine-grain master positive.
www.reel.com /movie.asp?MID=40946&PID=10106551&buy=closed&Tab=reviews&CID=18   (1471 words)

 Articles - The Chase (1946 film)   (Site not responding. Last check: 2007-11-06)
The Chase is a 1946 movie, shot in fl and white, directed by Arthur Ripley.
This dream-like film noir is about Chuck Scott, a World War II vet now a penniless drifter tormented by bizarre dreams, who takes a job as driver to Eddie Roman (Cochran), a vicious gangster.
Film Noir: An Encyclopedic Reference to the American Style by Alain Silver and Elizabeth Ward notes: "The Phantom Lady excepted, The Chase is the best cinematic equivalent of the dark, oppressive atmosphere that characterizes most of Cornell Woolrich's best fiction."
www.gaple.com /articles/The_Chase_(1946_movie)   (369 words)

 The Big Sleep (1946)   (Site not responding. Last check: 2007-11-06)
Trivia: The scene where Bogart and Lauren Bacall make suggestive talk about horses was added almost a year after filming was otherwise complete in an attempt to inject the film with the kind of risqué innuendos that had made To Have and Have Not (1944), and Bacall, so popular a few years earlier.
Many cite their relationship as one of the film's major strengths, but to my eyes, even the raciest of dialogue exchanges (such as the part where Bacall describes being ridden like a horse) lack that vital spark.
The film takes us back to a time when murder was committed bloodlessly, and for the most romantic of reasons.
www.imdb.com /title/tt0038355   (644 words)

 Collection: Lauritz Melchior - The MGM Recordings (1946-47): Film Music CD Reviews- January 2001   (Site not responding. Last check: 2007-11-06)
He sang with a model legato and a feel for the shape and direction of a phrase and an equalised scale that was the envy of many a bel canto singer.
At the same time he had a great sense of humour and while he was in America he began to mimic Frank Sinatra which led to some good humoured banter between the two singers -- and to both radio stations and film studios taking an interest in the lighter side of the Melchior talent.
Thus it was that the MGM recording company recorded, over five sessions in 1946-7, the two dozen or so numbers on this album as an extension of Melchior's appearances in five MGM movies.
www.musicweb-international.com /film/2001/Jan01/collection_melchior.html   (465 words)

 Curio Corner - Maurice CHEVALIER: Ma pomme, Chansons 1935-1946 : Film Music CD Reviews- June 2001 MusicWeb(UK)   (Site not responding. Last check: 2007-11-06)
Who could resist this suave charmer with his straw boater, his expansive gestures, his insouciance, his broad smile and his special way with a song: his almost-but-not-quite over the top expressiveness embracing a half-talking, half-laughing jocular style of delivery that was uniquely his own.
He returned to Europe to film in London and Paris during the late 1930s making such films as: The Beloved Vagabond (1936) and Pièges (1939).
He resumed his film career with renewed vigour and his later films included besides Gigi (1958), Love in the Afternoon (1957), Can-Can (1959), Fanny (1961), and I'd Rather Be Rich (1964).
www.theclassicalsite.com /film/2001/June01/MauriceChevalier.html   (303 words)

Film Maltese Falcon (1941, John Houston) Based on a novel by Dashiell Hammett.
Film: The Big Sleep (1946, Howard Hawks) Based on a novel by Raymond Chandler.
Film The Lady from Shanghai (1948, Orson Wells) Freely adapted from a novel by Sherwood King.
www.ncf.edu /hassold/FilmNoir/FILMNOIR_filmography.htm   (280 words)

 Origins of the Sex Goddess Image
The film, which was made in 1946, takes place in Buenos Aires, a city that added the international flavor, spice, and texture to the Gilda character.
Having been scorned by Johnny, Gilda throughout the first part of the film acts out her anger by turning into a wench—for the supposed purpose of getting even through making Johnny jealous.
At the same time, writer and producer Van Upp would have you to believe that underneath this character was a loving but desperately "hurting woman," and that this character's anger and hurt were simply being converted into Gilda's vixen-like behavior.
www.cybercollege.com /sexgod.htm   (904 words)

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