#irv spence

[heidispikecat6]

I draw Boog in the style of Irv Spence animation like Tom and Jerry.

[aunti-christ-ine]

A Sunbonnet Blue - The Three Ratz Brothers (1937) 

[ducktracy]

Top 5 Looney Tunes animators? Examples of their work?

HMMMMM...... in no particular order:

Rod Scribner:

Manny Gould:

John Carey:

Emery Hawkins:

Bill Melendez:

(beginning to notice a pattern with these gif choices, especially the last three HAHA)

honorable mentions include Bob McKimson and Art Davis respectfully, as well as a laundry list of others i'm too lazy to make gifs for

[franchufeuillassier]

.

[nocturnal-impala]

Ok so I will warn you that I'm a MAJOR ANIMATION NERD and I'll point out anything that reminds me certain animators...so the way that the girls are drawn here gives me some MAJOR Irv Spence vibes...and maybe a bit of Laverne Harding...

Again I'm sorry for all this...y animation nerd side just to spill out once in a while lol

Hello!

It's fine to be an animation nerd :) We're all here because we love animations.

OK, interesting to hear. I don't know who Irv Spence or Laverne Harding are. American animators? ( I could google them but nahh...)

I'm making an anime and my inspiration and models are the Japanese animators/artists (in fact I don't know a single western animator aside from Disney and Don Bluth).

In Zwei I'm mimicing the original style of Princess Tutu and my artistic models are Ikuko Itoh's works. Sometimes I use other anime for example as well. This particular scene I remember drawing from memory to match the expressions and dynamics we see on these characters in PT. But I can't memorise everything so I always keep the character art and screenshots near :)

I've said many times I'm trying to keep my fananime as authentic as possible and that includes the style of art and animation as well, so I'm sure the familarity rises when you watch it.

With the new story and enviroment something new is added too (and my personal touch and interpretation) but it's still a pretty generic anime I'm making. I'm sure there are plenty of stuff that reminds watchers of other magical girl/anime shows ;D

[midnightswithdearkatytspb]

In This Heart Mix Tape: Side A 

Two souls, forever bound in the multiverse. (Tommy Shelby x OFC! Estella Holland)

In This Heart by Sinéad O’Connor 

Red Right Hand by Nick Cave & The Bad Seeds

Sparkling Diamonds - From “Moulin Rouge” by Nicole Kidman

Work Song by Hozier

Why Don’t You Do Right? by Amy Irving and Charles Fleischer

One Day I’ll Fly Away - Acoustic by Vaults

I Wanna Be Loved By You by Annette Hanshaw

Merrily Kissed The Quaker by Planxty

Cheek To Cheek by Ella Fitzgerald & Louis Armstrong

Dog Days Are Over by Florence + The Machine

Morrison’s Jig by Orthodox Celts

He Moved Through the Fair by Sinéad O’Connor

Swan Upon Leda by Hozier

An Irish Party in Third Class by Gaelic Storm

Brigg Fair by Jackie Oates 

The Wind That Shakes the Barley by Dead Can Dance

Return to Me by October Project

I Know You Know Me by Caroline Spence and Matt Berninger

Never Let Me Go by Florence + The Machine

I Am a Poor Wayfaring Stranger by Joe Slovick

Nostalgia - Wallander Version by Emily Barker and The Red Clay Halo

The Only Exception by Paramore

Take Me to Church by Hozier

Queen Of Peace by Florence + The Machine

[kwebtv]

From the Golden Age of Television

Series Premiere / Pilot

Terry and the Pirates - Macao Gold - Syndication - June 26, 1953

Action Adventure

Running Time: 30 minutes

Written by

Produced by Warren Lewis

Directed by Richard Irving

Stars:

John Baer as Terry Lee

William Tracy as Hotshot Charlie

Gloria Saunders as Dragon Lady

Jack Kruschen as Chopstick Joe*

Mari Blanchard as Burma*

Ben Wright as Quate

Edgar Barrier as Inspector

*in the pilot episode only Jack Kruschen portrayed Chopstick Joe and Mari Blanchard portrayed Burma. In the series Jack Reitzen portrayed Chopstick Joe and Sandra Spence portrayed Burma.

[dweemeister]

One Foot in Heaven (1941)

Christian films, sometimes derisively referred to as “faith-based films”, in the United States have undergone a resurgence in the last decade. Whether the film is explicitly Christian or contains Christian themes, such films have existed since the early silent era. Numerous contemporary Christian films – not all of which have been made or produced by those who are artists before proselytists – have been burdened with a reputation for being sanctimonious, inviting the converted while repelling everyone else. That reputation, largely deserved, was nonexistent during the height of the Hollywood Studio System (1930s-late ‘50s), when films touching upon religion looked upon their subjects and themes with reverence while respecting that the audiences congregating in theaters might be of different or of no religious faith.

Irving Rapper’s One Foot in Heaven – released on home media for the first time in March 2015 – presents its religious themes seriously, yet never intrudes on the beliefs of others. There is a notable exchange between William Spence (Fredric March), the film’s protagonist and (by that point in the film) a well-established minister, and Dr. Horrigan (Jerome Cowan), who has been openly disparaging of the Christians in town. The two engage in discourse about what can be seen, heard, smelled, touched. Can a soul or one’s faith be seen, heard smelled, our touched? And if not, does it still exist? This line of questioning is followed by a line of thought that – during an argument over religion – one seldom hears in real life or in fiction:

DR. HORRIGAN: Well, that’s just sophistry! Pretty good, though – worthy of old Socrates himself… WILLIAM SPENCE: …Alright, you admire Socrates– DR. HORRIGAN: –As a philosopher, I do… But you don’t hear people going around claiming Socrates is divine; as far as that goes, Christ was a good teacher. WILLIAM SPENCE: Why don’t leave the religious angle out of Christianity and respect it as a good rule of living?

It was this moment where One Foot in Heaven extinguished whatever doubt I, as someone who is nonreligious, may have held in its intentions. It takes two to make a disagreement civil. Credit Dr. Horrigan for realizing, “Christ was a good teacher.” Credit Will Spence for not attempting to reach an understanding, and seeing no need to condemn Dr. Horrigan and respecting the fact that he is not Christian (no Bible quotations to be heard in this scene).

One Foot in Heaven is based on Hartzell Spence’s biography of the same name that he wrote about his father. The film follows Will Spence and his wife, Hope Morris Spence (Martha Scott; fresh off starring in an emotional leading role in 1940′s Our Town) as Will enters the ministry, all while raising a family in places far from their original dreams. Life in these small towns is humbling, but wherever the Spences go, despite the local drama, there are always parishioners who will support them just as Will serves the communities he is assigned to. Though the Spence children are not nearly as prominent as their parents, we also see how difficult it is being the child of a priest. This is an episodic, intimate drama graced with good humor, showing a man and his family living sincerely as the times and people around them change.

The film begins in 1904 in Stratford, Ontario. William Spence is in medical school, but has found his calling to become a Methodist minister. Hope Morris, his future bride and from a wealthy family, is encouraging of these new aspirations where her parents are not. With no ministerial vacancies in Canada, they move to small-town Iowa – the townspeople live simply, with everyone knowing each other’s faces. The Spences raise their children there: Hartzell (Frankie Thomas at age 18; Peter Caldwell as younger Hartzell), Eileen (Elisabeth Fraser at age 17; Carlotta Jelm as younger Eileen), and Frazer (Casey Johnson; the kerfuffle around Frazer’s baptism and naming is warmly humorous passage). The family adjusts as the children grow, the United States enters World War I, and multiple moves across the central U.S.

As a minister, Will is aware of what he is not an expert in – he never pretends to be something he is not. He is always approachable and hyper-local (declining a potential posting as a missionary to Africa or Asia, he quips that, “the real heathens are in the church”). One Foot in Heaven’s most memorable scene involves Will learning that Hartzell has been to the local cinema. Attending the cinema, so say Will’s superiors (or popular evangelical belief perhaps), cultivates sinful behavior – something turn-of-the-century old time religion said about billiards, all types of gambling, speaking about divorce too loudly. Will warns his son not to do so again, as such actions embarrass the moral authority that he wields. Hartzell objects, to which Will says that he will accompany his son to the movies and point out why the artform only promotes sin. Some time after, they pay the admission for The Silent Man (1917; the director and star of that film, William S. Hart, was a guest of honor at One Foot in Heaven’s premiere) – attracting the stares of the patrons who can scarcely believe the local pastor is at the theater. The lights dim. The flicker of the projector and the nitrate film reel fill the room. And to Will’s surprise, the film contains worthwhile messages extolling virtue, honesty, and a disgust for injustice. Will acknowledges he has been wrong and how quick to judgment he was.

This, too, is where One Foot in Heaven refutes many of the attitudes found in modern-day Christian films. Will demonstrates a willingness to change prior views, to heed the words and feelings of the young generations that will someday be sitting in the pews of his church and, perhaps, one of them standing at his pulpit. He and Hope may initially approach a situation in anger or frustration, but work through their problems with kindness in mind, and leave the scenario able to laugh at themselves thinking about their predicament or how foolish they might have been before. Cultural change is not to be fought, but welcomed. Christian fundamentals will endure (and have endured) such changes anyways. What repulses non-Christians from modern Christian cinema is the perception that many of those films carry an evangelical righteousness that make nonbelievers look like wet towels or hot-headed ignoramuses (after a heated dispute with a nonbeliever, “I’ll pray for you” is probably not a helpful thing to say). How refreshing One Foot in Heaven is to avoid all these traps of losing the empathy of non-Christian viewers, putting it in the company of The Song of Bernadette (1943) and Ben-Hur (1959).

Screenwriter Casey Robinson (1935′s Captain Blood; 1940′s All This, and Heaven Too) has crafted beautiful dialogue for the sermons, endowing the character of William Spence with a minster’s ideal literacy. But once the plot exits the first few years of the Spences’ life in Iowa, the screenplay begins to accelerate the proceedings. The Spences’ years in Iowa take the time to relax, to soak in all the quiet pleasantries and meaningful conversations between characters and have them reflect on what has transpired. From their first and subpar parsonage home (to the disapproval of the infant children, it is next to the fire station), church politics, and the aforementioned segment where Will has learned that Hartzell has been sneaking into the local cinema, one feels the weight of time’s passage in the opening two-thirds of the film. What happens to the Spences following the American entry into World War I feels underdeveloped, and the 1920s seem like a narrative blur that is dominated by controversies with Mrs. Sandow (Beulah Bondi) and the Thurstons (Gene Lockhart and Laura Hope Crews).

Hartzell Spence, who wanted Raymond Massey (who was commanding headlines on Broadway for his turn as the President-to-be in Abe Lincoln in Illinois) to star as his father, settled on Fredric March upon her mother’s recommendation. Warner Bros. indeed chose March, but only because of the fact March was considered one of Hollywood’s premier actors and a dependable box office draw. Olivia de Havilland was Warners’ first choice for Hope, but their executives wanted to pair her with Errol Flynn (yet again) for 1941′s They Died with Their Boots On. Scott and especially March are excellent in One Foot in Heaven – March truly shines as Will when speaking to his parishioners and in the film’s final moments; Scott (whose stage background made her suspect to overacting during this production, but was assisted by March to help address these tendencies) is tremendous when attempting to show Will a different way to think about a dilemma. The inside jokes between Will and Hope all work thanks to both actors. March would later consider One Foot in Heaven to be a favorite among the films he appeared in.

This was Irving Rapper’s second film as a director. He usually worked as a dialogue director for Warner Bros., but his crowning achievement – Now, Voyager (1942) – was a year away. Rapper keeps his camera relatively close to the actors and the action, lending One Foot in Heaven an air of intimacy. Composer Max Steiner’s score is gorgeous, with his signature stirring string melodies leading the film’s musical identity. Steiner arranged Samuel John Stone’s hymn, “The Church’s One Foundation”, as the score’s spiritual center. Following its release, One Foot in Heaven – despite receiving acclaim from film critics, who were more influential on their readers than today’s critics – was considerably more popular in rural America than urban America. A publicity campaign geared towards rural parishes paid dividends. One Foot in Heaven remained a fixture in small-town American cinemas following the United States’ entry into World War II; its rural-skewed popularity probably contributed to its unavailability on home media until rather recently.

It would be easy to write off One Foot in Heaven as anecdotal treacle. Listen and look closer. It is a film of enduring faith but, regardless of one’s faith, it celebrates lives dedicated to the purpose of serving others. One need not attend Sunday services or believe in God to intuit that.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

[nomadicauthor287]

Wild West AU

Sorry this took so long y’all! Enjoy! Be sure to like and reblog!

In the year of the force 1865, the great civil war came to a close. But with the end came a great cost, although the separatists lost, the republic lost as well with the mass execution of the generals for reasons of treason against the president. The republic was burned and a new order rose from the ashes. The Empire took over different territories claiming it was for peace but little by little it turned into tyranny.

Wrecker: Luther “Wrecker” Warner

Echo: Lewis “Echo” Sloan (Pair of revolvers)

Hunter: Bernard “Hunter” Spence (knives, knives, axes)

Crosshairs: Julius “Crosshairs” Spears

Tech: Irving “Tech” Bullock

Crosshairs is a Lieutenant Colonel in the Empire. A ruthless man is known for his remarkable marksmanship. Troops on both sides called him an angel of death because he just needed one shot to kill his target.

He rose through the ranks with his ruthless nature until he made his way up to Lieutenant Colonel.

But only a few people know about his one weakness. His little sister, Omega, is only 7 years old but smart as a whip and prodigy at strategy games.

Crosshair doesn’t trust anyone with his youngest sister. While he is an angel of death, she is an angel of life

Her brother tests her by challenging her to either chess matches and with hypothetical situations of battle with dioramas she made

Those tests were actually plans he uses to train his troops for battle

Also, battle strategies he uses

When Omega finds out what her strategies were made for battle and saw what happened to the systems after they swept through she was horrified

Lately, the Empire has been dealing with bandits that have been intercepting telegrams to steal supplies

Weapons

Food

Crosshair is tasked with the capture of these bandits

Some time passes and Omega makes a plan to escape

When she does escape her supplies and horse are immediately stolen once night falls

So she walks to town where she sells her headband given to her by her governess (Nala Se)

She walks into a local saloon and gets some grub

There was no other place to sit except next to this group of mercenaries talking about their next job

They question her why she’s sitting next to them and why she doesn’t move

She says she feels comfortable around them and the bespeckled fellow comments that that has never happened before

Their longhair leader questions her on why she’s here and where her parents are

She tells them she’s on a mission to save her people in the village she ran away from

She follows them to a saloon run by Cid

She’s one of the most successful women on that side of the West

They do jobs for ammo and supplies

She stows away on their wagon the next day when they go on a job

Wrecker is a wild man who loves nature and all her creatures

has a burro named Burrito

A Jackalope named Lula

Hunter is their big brother and leader of the group

Sometimes he doesn’t know what he’s doing

Echo is handicapped from the war but that doesn’t mean he can’t fight

He may not look it but he’s got plenty of fight left in him to find out what happened to his brother

Tech is the smartest and dumbest one out of all of them

He can tap into telegram lines as well as make all their equipment

The job they go on is to track someone who’s been kidnapping people

Zygerrians trying to bring slavery back

Omega makes herself useful and helps them recover the kidnapped people plus their target, Muchi

On that job she claims a bow from a boy who thanks her for saving him

Wrecker decided to let her stay with them

So they let Omega stay with them

Some time passes and Omega learns new skills from them

How to change a wheels

How to lasso creatures

Tap into telegram lines

Cook

Pan for gold

Next job they have to retrieve stolen resources

This time they enlist the help of the crew called the Green Phantoms

The Green Phantoms- (my OCs)

[I’ll do a character board soon]

10 members in all

They were an elite team made by a third party

They thought if kids with mystic powers were trained from infants they would be stronger

With training and surgical enhancements, it would make them stronger

They were said to be myths because there was no proof they existed because most targets associated with them were killed by “natural” causes or went missing

Luna Blade

Othed Dragoah

Verk Wress

Cam Tretey

Barux Rhitron

Ser Limser

Vonich Jhuc

Res Blonir

Ciara Blade

Koji

They track down the supplies to a remote part of the west in a canyon

They make Omega the lookout in case something goes wrong

There it’s rumored that there is a whole family of inbreds who ride on the backs of keeradaks

Once they have a visual on the supply cart they hold the Patriarch at gunpoint and tell him to bring out the rest of his family with their hands up

Turns out that wasn’t a good idea because his whole clan comes out

Someone fires a shot but it wasn’t anyone on the ground and the bantha pulling the wagon freaks out and runs

Tech and Ciara drive the cart while the others fight off the clan

The family chase them down on keeradaks

Some of the family board the cart and attack the drives until Hunter and Luna on horseback fought them off while the rest of the Green Phantoms fight off those on top of the cart

During all of this though Barux was negotiating moonshine prices with the matriarch

Rango - Water chase

The family starts tossing dynamite at them

Then Koji gets lasso’d off the wagon which helps her board and then rides the keeradak

Towards the end of the line, someone shoots one of the wheels off of the wagon and it comes to a stop

Turns out the cart was a trap and was full of imperial soldiers

All of them are captured and are put under arrest by order of Lieutenant Colonel Julius Spears or Crosshair

He beats both Luna and Hunter for the location of his sister

“Is this any way to treat your brother Julius!” Luna spat

Omega who was hiding in the distance with Burrito

“Brother?” she questions

She was shocked that the men who took her in were actually her brothers

Luna causes a distraction that lets Hunter, Tech, Echo, Wrecker, and Ciara escape with Omega

They all run away to a ranch run by their friend Cut where they hideout for a few days

End of part 1?

@soundwavetherav @zaffur @echoy-naak @eyecandyeoz @dreamy-day-daze @kratosfan6632466 @agentmarymargaretskitz @itsjml

[heidispikecat6]

Stunned Little Bear

[perfectdisastcr]

💗 i would like a list of all 3 million potential pairings please 🙈

my god, i would love to take the time out of my day to give that to you, and just know that we can ship literally anybody and everybody because that’s all we ever do in the first place and you know how much i love doing that with you too. my favorite writing partner everybody, bre is hands down the best partner in the whole world, and i’m lucky enough to be able to have her at all. she’s mine and i’m never going to let her go because i love her so much! she’s literally the best thing to ever happen to me and i know i wouldn’t be here through the shitty times and all without her! everybody better go follow her right now and send her all the love i swear to god, because she’s the only person on this hell site that shows me the attention that i deserve! also that list of potential pairings is below the cut, and don’t say i didn’t warn you. 👀

send 💗 if you’re open to the possibility of a romantic ship eventually happening between our muses

all these characters are up for shipping with all your characters:

alex gardiner (paul rudd) alexander hamilton (lin-manuel miranda) alex mullner (brant daughterty) alice liddell (madelyn cline) alisha khara (jameela jamil) annie abel (luna blaise/anya chalotra) antonia moreno (victoria justice) apollonia levine (anastasia karanikolaou) arthur pendragon (niall horan) ashley spinelli (ursula corbero) aspen rhodes (sofia black-d'elia) astrid porter (karlie kloss) audrey ramirez (selena gomez) august khalil (rami malek) axel turner (charlie weber/skeet ulrich) aziz hassan (riz ahmed) bailee rose (jenny boyd) bambi prince (lachlan watson) barbie roberts (kate upton) barley lightfoot (michael clifford) beatriz velasco (camila cabello/diane guerrero)  beau hester (froy gutierrez) beck collins (joe keery) bellatrix lestrange (carmela zumbado) belle dubois (margaret qualley) belle summers (candice king) berliouz bonfamille (alex fitzalan) bernard davenport (gavin leatherwood) billie groves (kiana lede/emmy raver-lampman) billy hargrove (dacre montgomery) bindi culver (meg donnelly/rachel mcadams) bo-peep ‘bo’ patterson (amanda seyfried) brady gardiner (nathaniel buzolic) brielle stewart (alexandra daddario) bronwyn pierson (madelaine petsch) buzz lightyear (paul mescal/chris pine) calliope jung (phillipa soo) camille aguilar (jeanine mason) carl fredricksen (tye sheridan) celeste quintana (rosalia/maite perroni) chandler armstrong (iwan rheon) cinderella tremaine (lily james) clementine ahn (jamie chung) cliff egan (stephen amell) colleen lowell (jodie comer) connor catrell (thomas doherty) copper slade (nick jonas) cordelia goodwin (ryan destiny/candice patton) coriander thompson (dacre montgomery/chris evans) cornelius robinson (simon baker) cruella de vil (melanie martinez) cyrus quinney (owen joyner) daisy vaughn (isabella gomez/aimee carrero) dakota atkins (amber midthunder) dale monks (keiynan lonsdale) dalton davis (harris dickinson) daniela ‘dani’ costello (becky g/eva longoria) dash parr (jaden smith) delilah diaz (camila cabello/diane guerrero) delphine washington (antonia thomas) delta montgomery (manu gavassi) denver koch (thomas elms) devon montgomery (iain de caestecker) diego hargreeves (david castaneda) dorcas meadowes (ariela barer) dory blau (julia louise-dreyfus) duke blaise (ashley graham & matthew daddario — reincarnated)  duncan traeger (zac efron) edmund whittaker (richard madden) edwin orwell (nicholas galitzine) elena flores (jenna ortega) eleonora moretti (benedetta gargari) eleven (millie bobby brown) elio montgomery (noah schnapp/brendon urie) elisabeth ‘elsa’ andersson (candice king) elliott murdoch (kj apa) eloise thompson (taylor hill/zoey deutch) elwood leith (sam claflin) emerson wheaton (beau mirchoff) emily sondheim (eve fraser) emmy silverstein (nat wolff/michiel huisman) ericka ‘ricki’ santos (danna paola) esmeralda guybertaut (priyanka chopra) everest sorenson (adam driver) ezekiel ‘zeke’ bauer (neels visser) fa mulan (awkwafina) felix dawson (lukas gage) ferris rockwell (joshua bassett) five hargreeves (aidan gallagher/rob raco/john mulaney) florence prata (barbie ferreira) flynn rider (jacob elordi/steven r mcqueen) frank castle (jon bernthal) gabrielle dupres (louriza tronco) genevieve rizzo (troian bellisario) gill moorish (harrison ford) godwin vivar (diego boneta) grainger anslow (justin hartley) grant wesley (keanu reeves) griffin price (liam hemsworth) guinevere ‘gwen’ flores (ester exposito/ana de armas) gulliver kennedy (robert sheehan) gunner mccoy (miles heizer) halston krogen (nick robinson) hamish duke (thomas elms) harper graves (sydney sweeney) harry potter (alberto rosende) harvey wolff (joaquin phoenix) hawke bradbury (brenton thwaites) helen parr (megan thee stallion/kerry washington) hendrix palmer (mark fischbach) henley howell (dylan everett/paul wesley) henrik nilsen (herman tommeraas/chris evans) hercules sabri (aubrey joseph) hermione granger (quintessa swindell) holden krogen (jack falahee) holly la stella (olivia holt) honey lemon (irene ferreiro) hudson reid (jaeden lieberher/paul mescal/james mcavoy) irving reid (matty healy) isobel evans (lily cowles) jacoba ‘cobi’ abernathy (geraldine viswanathan) jake bennett (joe jonas) jake breckenridge (landon liboiron) james potter (noah centineo) james ‘sully’ sullivan (hozier) jane porter (zoe sugg) jasmine agrabah (naomi scott) jessica jones (krysten ritter) jim hopper (david harbour) johanna ‘jo’ gardiner (carlson young) josefine olive (lili reinhart/maika monroe) joseph ‘joey’ carnegie (chris o'dowd) juliette russo (camila mendes) juno nicks (gideon adlon/linda cardellini) justin miller (michael b. jordan) keaton green (charlie plummer/austin butler/alexander skarsgard) keifer fry (nathan parsons) kennedy sutherland (florence pugh) khalid farid (mena massoud) kiernan jost (jack barakat) kiki penn (natalie alyn lind)  kim possible (karen gillan) kit dempsey (aaron taylor-johnson/michael sheen) kristoff bjorgman (ben hardy) kuzco inca (tommy martinez) lady alvarez (camila cabello/diane guerrero) lake montgomery (jace norman/casey deidrick/jeff goldblum) lazarus (sean teale/tom ellis) lennox wells (billie piper) leonardo ‘leo’ light (armie hammer) levi wesley (gerard butler) liam wheaton (lucas lynngaard tonnesen/dominic sherwood) lilac montgomery (sophia lillis/deborah ann woll) lila pitts (ritu arya) lilo pelekai (courtney eaton) lola carver (carla gugino) macy merritt (kylie jenner) madeline hawkins (rowan blanchard/kaylee bryant) madison bloomfield (gwyneth paltrow) maggie wheaton (virginia gardner) maria deluca (heather hemmens) mariana de la cruz (victoria justice/salma hayek) marianne darden (elizabeth olsen) marisol torres (alexa demie/salma hayek) marlene phan (brianne tju) matilda franks (brooke markham) matthew murdock (charlie cox) max tian (chloe bennet) mckenzie whitman (danielle rose russell) megara creon (ashley moore) melanie carter (brenna d'amico/zooey deschanel) melody burns-newman (camren bicondova) mercutio bellini (giancarlo commare) merida dunbroch (bree kish) michael ‘goob’ yagoobian (dylan o’brien/andrew scott) mickey hader (shawn mendes) miguel rivera (diego tinoco) mike wheeler (finn wolfhard) mildred ‘millie’ brantwood (stella maeve) milo martinez (itzan escamilla/tyler posey) milo thatch (jason ralph) minerva ‘minnie’ winslett (jenna coleman) mischa locklear (jenny slate) moana motunui (auli'i cravalho) molly wheaton (saoirse monica jackson/kristen bell/kristin chenoweth) monet bugg (annie murphy) mordecai ‘cai’ baird (joseph morgan) murray bauman (brett gelman) nadja (natasia demetriou) naomi phillips (hunter king) natalie fuller (krysten ritter) nate gardiner (tom holland/thomas hayes/joe keery/adam scott) nemo fisher (nick robinson) nick novak (jon bernthal) nick wilde (jake johnson) nina baxter (laura harrier) nolan van ness (louis hynes/benjamin wadsworth) nymphadora tonks (kennedy walsh) odessa barnes (inanna sarkis) osbourne russo (oliver jackson-cohen) otis richardson (finn jones) owen monroe (zachary levi) paloma katz (brittany o'grady) paxton gardiner (douglas booth) pearl turner (maia mitchell/aubrey plaza) penny proud (sarah jeffery) perdita ryan (alisha boe/zoe kravitz) perrie wheaton (ariela barer/jessica alba) peter pan (rudy pankow) peter pettigrew (alex lawther) phil mcdermot (leo howard/dylan o’brien) phineas flynn-fletcher (michael provost) piper donahue (millie bobby brown/katherine langford/felicity jones) pippa mei (amy okuda) pollux isola (camila mendes) portia sadler (hayden panettiere) prairie gallagher (lucy boynton) quaid ‘q’ wright (jake gylenhaal) quinton saunders (jamie dornan) rain montgomery (nick jonas) ramona montgomery-wallis (lana condor/ashley park) reed knightley (arthur darvill) reign fentworth (madison bailey/vanessa morgan) reno thames (joshua bassett) richie tozier (finn wolfhard/bill hader) river montgomery (jack griffo/tyler blackburn) robin buckley (maya hawke) roger holtz (ben platt) roger radcliffe (aaron tveit) romy reyes (carmela zumbado) ronald ‘mac’ mcdonald (rob mcelhenney) roosevelt banks (spence moore II) rowan burke (andy biersack) roxanne sutton (lady gaga) rush mccoy (cody fern) russell montgomery (ian harding/hugh jackman) russell montgomery II (jack dylan grazer/timothee chalamet/adam brody) sable rosales (catherine bascoy) saint fentworth (reece king) sally finklestein (marina ruy barbosa) salvador ‘sal’ mendoza (jorge blanco) samson gardiner (cole sprouse) sandy diamandis (christina hendricks) sawyer bell (penn badgley) seamus kennedy (aria shanghasemi/michael sheen) seb seif (zeeko zaki) selena hada (camila cabello/diane guerrero) severus snape (rob raco) shawn taggart (ben barnes) shay strauss (chris wood) shia zoheir (rami malek) shiloh young (devery jacobs) shiri madani (inbar lavi) simba king (john boyega) sloane shapiro (diana silvers/linda cardellini) sofia ramirez (camila cabello/camila mendes/morena baccarin/fluvia lacerda) stefani vidal (louriza tronco) stella romero (adria arjona) steve harrington (joe keery) stevie wagner (anne hathaway/jennifer garner) sutton reiser (katherine langford/kat dennings) tandy hawthorne (giorgia whigham) tanner cohen (ross lynch) tarrant ‘mad hatter’ hightopp (hale appleman) tarryn fischer (giorgia whigham/perry mattfeld) tatum barton (ben schwartz) teddy flood (james marsden) tex navarro (bad bunny) thad abraham (dylan sprouse/chris evans) the handler (kate walsh) thomas gardiner (felix mallard/paul rudd) tierney kennedy (maisie williams) timothy ‘tigger’ trigger (jeremy allen white) tinker bell (sabrina carpenter) tj lieberman (armie hammer) tommy burns (will poulter) topher larkin (alexander hogh andersen) trey turner (jonathan daviss) ursula celia (normani/lizzo) vaughn abel (max greenfield) veronica lodge (camila mendes) vidia viento (emma dumont) vivica lang (madison pettis/tessa thompson) wanda cowell (brenda song) warren wentz (robert pattinson) wendell langston (link neal) wilbur robinson (david mazouz) winnie knox (sophie turner/jessica chastain) wren green (alexander calvert) wynona winstead (sarah hyland/cristin milioti) xander talbot (g-eazy) york pemberton (heather baron-gracie) yusef barlas (zayn malik) zack abrams (alex fitzalan) ziggy (taron egerton) zoey matthews (olivia munn)

[ducktracy]

I'm sorry but can you direct me to the little red riding hood where the wolf is in a roadster and he's trying to pick her up? It's in black and white I think and I'm sure I saw you share it on here

sorry this is so late!! that would be Tex Avery’s Little Red Walking Hood, which is a great cartoon! it’s on HBO Max if you have it, but you can also check it out here. i hope you enjoy!

[youresog0lden]

15 II Spencer Reid

Summary: It’s been 15 years since the murder of your mother so you take the day off, while back home your best friend is trying to find out what happened with the case completely forgetting that every day for the past 6 years he would come over and stay with you. 

WC: 3.2k 

Warnings: Angst, the mentions of death, panic attacks, the mentions of depression, ED (kinda), Murder, Stabbing, Violence, Crying, Vomit, The mentions of Heaven I think I could be wrong I might have said above. -But just in case-  I used y/n but used a last name so I could make the story easier just replace it. 

A/N: I definitely cried while writing this one. Please let me know what you think ! This is one of my favorites !  THIS IS NOT MY GIF

masterlist

Notes: Y/n/n = your nickname y/n = your name

Relationship: Spencer x Fem Reader (kinda)

"The song is ended, but the melody lingers on." ~ Irving Berlin

15 years ago. fif-teen. Today was the big day. I was 15 years ago. Since my mom was brutally murdered. They told us they never found the murderer. That they tried to find every piece of evidence that they could but, this person is a pro. Every year I take the night to try and help solve the case but nothing has come out of it.

"Hey Garcia." I chirped picking up the phone.

"Hey beautiful. I know it's your day off but we really need you on this case." she pleaded.

"I can't. I have to go." I say softly hanging up the phone. Every year on her death date I go to her grave to talk to her let her know that she's not alone. I tell her about everyone and everything. I tell her about Spencer. Even though if she was here now she would tell me to stop thinking about boys and that there a waster of time. I bring her her favorite flowers even though they take a week to get to me because there rainbow roses. Her favorite. She says there way to colorful reminding her of everyone of her kids, never a dull moment. So I take the day to thank her for having me for bringing me into this world. I made sure her grave was put in the Jane graveyard. I wanted her to feel at home with her mom and dad. I always leave crying but, knowing she's watching from above only makes me have hope that I will see her again. Right at the time I get up to get ready I get a call from a certain Doctor.

"Hello Dr. Reid." I joked.

"Hello Agent Jane." we laughed at the joke both of us made

"I'm waiting for you." at this point I almost immediately stopped laughing.

"Do you not know what today is?" I asked quietly.

"No. Am I supposed to?" he asked. Yes because I told you. I told you what happened. I told you the date. I told you how she was murdered but I guess you forgot.

"No never mind. Look Spencer I have to go." before he can say anything I hang up. I sit there looking at myself. Black jeans, boots, and a hoodie. I nod before grabbing my bag and the flowers leaving and a bag I packed since I was going home. I set my things down and make sure the flowers are secured. I back out of my parking lot and drive towards the highway. Hey sweetie I just wanted to let you know I love you. Please be careful tonight I love you more than anything. Her voice rang in my head like it did every year on her date. I remember getting the call in the morning after seeing it on the news. I took me months to finally get up and move around and it took me two years to finally go and see her. I was 18 when it happened. My brother was the only one home at the time.

He told me he came home from the football game to see her blood all over the house. Justin wasn't home at the time. Justin being my step-dad. He told me that she asked him to go get roses for there anniversary coming up so he did. I cried for weeks on end. I ended up being taken to the hospital because I stopped eating. I stopped taking care of myself. I couldn't physically do it anymore. I couldn't sit there in the house anymore. I ended up moving out and starting college like my mom would've wanted she was the whole reason I became a profiler I needed to find out what happened. I needed to catch this guy but, it was like he feel off the face of the earth. The case went cold and eventually everyone moved on. Even I did I was finally happy. I made family at work. Nothing could ever replace my original family but they were a close second. I made a best friend. Spencer Reid. Even though he didn't remember today I didn't blame him for it. He may have an eidetic memory but, work was one of the many things that flooded that pretty brain of his.

Eventually after being friends with him it's almost natural to develop a crush -if you will- on him. Almost like a wildfire I did. I couldn't help but love him and all of his quirks. He could make the moon smile if he tried. Hell even if he didn't try but when he did and he let out a laugh it was contagious. Everyone would laugh. He was the heart and soul of the team. His magic tricks, his lectures about why the girl and I can't have more than five shoots and three drinks when we go out. - I really think it's the dominance coming out in him - but he says he just cares about us and doesn't want us to complain to him about our raging headaches in the morning at work. Almost every year Reid would come over and help me through it. I would never actually take him to my moms grave he just stayed the night before and made sure I was okay every morning for almost six years. I hurt that he forgot but once again work probably effected that.

After what seemed to be about a three hour drive and two bathroom stops I pull into the graveyard surrounded by the Jane family church our great, great, great, great, great grandparents founded in. This is where our family was berried time after time. Taking a big breath I see the street lights surrounding the graveyard making it not look as deep and depressing. I grab the flowers and a water bottle moving out the car and into the graveyard. I take a deep breath walking and sitting down by my mom.

"Hey momma." I say softly looking down at her headstone. Cheryl Jane. Loving mother, Wife, and daughter. June 8th 1970- August 25th 2005. It's okay rest easy momma-bear you've done your work. Just at the read  of that my eyes start watering. "It's been a year. A lot has happened this year. Emily has been working our asses off. It seems like cereal killers never take the time off. I miss you more than ever. I know Brantly does to. He talks about you the most. It's really hard for me to. Even though you know that. Anyway I'm sure you want to know the constant loop of my life. Well here it goes. Mom I'm in love with my best friend and he's in love with his and I know that sounds confusing but here let me explain in. He may be mine but JJ is his. I can tell by the way his eyes get big when he hears her talk or how his smile is or how he blushes as she talks but I get why shes beautiful. He's so in love with her mom and, it hurt's so bad but sometimes you have to get through the pain. Derek left. He has a kid so he went to be daddy Derek with Savannah. We have a new team member. Luke Alvez he's cool. Emily is the new unit chief. Hotch had to leave for a while. Recently it's been hard mom. I've barley been wanting to go to work in the morning knowing he isn't mine. Mom, I know that if you were here right now you'd tell me." I take a deep breath tears running down my cheeks.

"Don't worry about boys Y/N. Life is way to short. Go out start loving yourself, not guys. Because if one thing is promised in life it's you'll always have yourself. That and, that no one ever makes it out of here alive. So stop wasting time on him and, trust me I'm trying. I really am. I just need you to be here to hold me while I cry in your arms. Mom I'm 33 and I still need to cry into your arms. Mom I thought I would have you until I'm old. I didn't picture you not being here to see me graduate college. I thought you would be here to see me have the kids you always wanted to see me have. You always talked about being a grandma. I thought you could walk me down the isle as I'm getting married in your dress with our family ring seeing your smile on your face. God I miss that smile so much and what I wouldn't do to see it again. Pictures aren't enough. I don't know how long it's been since Jasmine came out here to talk to you but she's married now. To this guy his names James. I really like him. I can tell he makes her happy. There expecting. I'm going to be a godmother and a aunt. I never thought I would be this achieved in my life. The only thing is-" I couldn't stop crying. It kept coming down in waves of sadness tears escaping like no other.

"Well there's quite a few only things but the first thing is I just expected you to be here when I tell everyone the news. I used to remember running into the living room telling you how much I wanted to move to London and meet a cute English boy and have a perfect life. Well the whole boy thing isn't working. -obviously- but I got offered a job for a secret agent task force that goes undercover all around the world and helps solves cold cases from all around. I have to let them know by next week all I could think about was my family, and how if I left how hurt they would feel we've already lost so many team members but at the same time this may be exactly what I need. I would still come and visit you every year. I promise. Pinky. But I don't know I have a lot to think about on my way home. I could sleep in a hotel tonight but I just don't think I want to do that. But anyways I love you lots momma-bear more than anything. See you next year." and with that I placed the roses on her headstone standing up noticing it was starting to get dark I quickly go to my car unlocking it and placing the keys into the ignition and looking at my phone seeing as I shut it off to be more with my mom today.

4 missed call for Spence

3 missed calls from Garica

2 text from Spence. Click to open it.

So that's exactly what I did I look at the texts.

"Y/N please answer me. I know what today is I'm so so sorry I forgot."

"I'm on my way. Please just tell me your safe." I text back with a quick "It's fine. I'm already on my way home. Just leave me alone for the night please." I turn off my phone once again before heading on my way home. Leaving the busy road to much calmer ones.

"Mommy." I called out walking around the house. There I stood in a blue Cinderella dress and her clear heals with this sassy attitude.

"Yes sweetie." she laughs looking at me taking out her clunky camera and snapping a picture of me.

"Mommy can you pwease help me talk this off." my four year old eyes flashed on her. She laughs nodding her head.  She helps me take off the dress leaving me in my hello kitty underwear and heals. She pulls out one of my pj sets and looks at me.

"Let's get you ready for bed. Yeah?" she says. I nod sticking my arms up. She picks me up taking me into the bathroom.

"Can we pwease use the hello kitty bubbles." I ask with puppy eyes.

"Of course my sweets." she kissed my forehead. She lets the bath fill up before putting me in there and bathing me. Kissing me on the head, the shoulder, the top of my back, the side of my head then, my nose. Every time a little laugh left my lips.

"Stop mommy it tickles." I laugh splashing the water. She gasps

"Mommy." I say sternly. She gives me a look before continuing

"Yes baby."

"I love you more than ice cream."

"Is that so?"

"Yes."

"Then I love you more than the sun and moon combined."

As the flashbacks come back so do the tears. I pull over to the side of the road before feeling my heart crack.

"Then I love you more than the sun and moon combined."

"Fuck." I yell sitting in my car all alone. My breathing increasing in seconds my hands shaking. I can feel the urge to get out of my car and puke. But I sit there trying to call myself. It wouldn't stop her voice, the memories. I grab my phone knowing only one person could even remotely help this but deciding against it I put the phone down. I bust my car door open before falling to my knees and puking whatever I ate this morning out. I didn't stop tho I couldn't but once, I finally do I stand up and go to my car looking for a bottle of water. Finding one a few seconds later I grab my to-go bag washing my mouth and and brushing my teeth with the water I had. I get back in my car which now my hands weren't shaking as much so I was good on driving. At a red light I turn my phone on waiting for it to start back up again. When it finally does I connect it to my speaker I quickly call Spencer. The phone rings for a second before hearing the uttermost thing.

"Hello." his voice sounded shakily.

"Spence." my voice broke. Fuck really.

"Y/n/n." he sighs realizing you.

"Spence I'm almost home do you think you could spend the night tonight I don't want to be alone." I whimpered out tears sliding down my face.

"I'll be there in ten with food ready for you." he almost said instantly. I nod knowing he can't see me before hanging up and making my way down the exit.

"Mom. Get out." I complained. I was 15 and I just wanted privacy.

"Come on sweetie talk to me." she sighs.

"No. Just leave me alone." I yell.

"Don't you dare yell at me I am your mother." she was now raising her voice. I stopped dead in my tracks.

"I wish you were never my mother. "

After saying those few words to her, I could see the heartbreak in her eyes. She did everything for me even when we didn't have money and it was just the two of us. Then at the time it was my mom, my sister, I and her husband Justin and his kid. I didn't mean to say it I was just mad and I always apologized for it still feeling bad for even saying it.

"I wish you were never my mother." The words were like ice. She stopped dead in her tracks. It still heart my heart when thinking about it. It still made me cry thinking about it. Which I already was but still it only increased it. I grab my bag walking into the apartment complex seeing Reid's car parked a few down from mine I knew he used the key I gave him to get into my apartment. God how much more obvious could I be. I walk to the elevator pressing the fourth floor taking my time up there. I open the door hearing his footsteps bring him into direct eye-contact. I drop my bad right by the door closing it as he held his arms open for me to walk into, so I did exactly that. I walk right into his arms. My arms latching around his neck his wrapping around my waist. I bring my head into his neck crying harder with each second the hug lasted. He doesn't say anything he just sways us back and forth letting us take in the moments. Enjoying having someones arms to cry in after a long day of crying by yourself. It felt nice knowing he was there if you needed him.

"Do you want to eat?" he asked. I nodded my head before sitting at my island. He hands me my bowl of Chinese food and takes his own setting it down on the side of me. I lay my head on his shoulder messing with my food with my fork. He notices it but doesn't say anything he just takes my hand way and holds it with his laying his head on top of mine. He took his head off mine and unlaced his hands before taking a deep breath.

"You need to go lay down you look exhausted." he says in a hushed tone.

"Can you come lay down with me." I say just as quietly.

"If you go get ready I'll clean up the kitchen then I'll come lay down with you." he says. I nod before walking a few steps forward before quickly turning around and turn into his embrace hugging him once again. I mumble a quick 'thank you.'  Into his stomach.

"I love you." I say once I finally let go.

"I love you pretty girl." he says softly using my nickname he gave me a while ago when I started using the nickname pretty boy because of Morgan. I walk into my room changing into a pair of shorts and his over sized Cal-tech t-shit. I brush me teeth once again and go into my room where he has changed from his normal dress pants into his flannel pants with a hoodie on. I smile at him smally but I could tell he noticed because once I did he flashed me an award winning smile holding up his tooth brush. I laugh lightly and walk to the bed letting him get in the bathroom. He walks out and get's on his side of the bed laying into it with me.

"Y/n?" he questioned.

"Yes love."

"I heard that they think the found the killer." he says. I sit up straight.

"What-" I questioned softly

"Emily said they found a note and a dead body confessing into killing your mom." he says just as softly.

"How do we know it's him?"

"He explained in the letter details only the person who did it would know his prints were found on a weapon that looks exactly like the weapon your mom was killed with and the blade matched and everything. Then we found a recording of him and your mom talking."

"When did you find this?"

"Today." I nod.

"So it's really him?"

"Yeah. It's really him." he says. I smile softly, our eyes finally meet. He grabs me pulling me closer to him. I take this as a sign and plant my lips on his. He doesn't kiss back so I pull away just as quickly.

"I'm-I-I'm so sor-" I was cut off by his lips on my once again finally feeling at peace.

"Our Life is made by the death of others."~ Leonardo da Vinci

[akron-squirrel]

I just wanna say the animation quality in “Hey There, It’s Yogi Bear” is pretty amazing. There was lots of attention to detail, and these are probably the scenes that stuck out most to me for that. Also, any scene Irv Spence animated was super fluid (I feel like he might’ve animated that last one, the way Cindy stumbles like that, but no guarantees)

[animationresources]

CLICK to see a scrapbook of studio gag drawings by Warren Foster, Carl Urbano, Irv Spence and more https://animationresources.org/biography-scooper-conlons-scrapbook-2/ JOIN Animation Resources and access exclusive Members Only downloads! https://animationresources.org/membership/levels/

[dweemeister]

Down Argentine Way (1940)

In 1940, the United States had not yet entered the Second World War. Despite having zero troops fighting in the European, North African, and Asia-Pacific theaters, the American government was nevertheless preparing for the contingency of war. Since the 1930s, President Franklin D. Roosevelt’s State Department pushed forth its “Good Neighbor Policy” to Hollywood executives, intended to foster U.S.-Latin American relations through various means. With the Axis on the march and making overtures to still-neutral nations, the State Department asked for Hollywood’s assistance, to make films showing Latin American in a positive light while not exactly leaning too heavily on propaganda. Hollywood obliged. One of the first movies crafted in this State Department-mandated spirit was Irving Cummings’ Down Argentine Way, released by 20th Century Fox. In addition to fulfilling these governmental requests, the film also served as the breakout movie for Fox contractee Betty Grable, as well as introducing Americans to Carmen Miranda.

Despite Argentina being reference in the title, it seems Down Argentine Way is confused about what Latin American nation(s) it is representing. At a New York show jumping event, Glenda Crawford (Grable) meets Argentinian horse breeder, Ricardo Quintana (Don Ameche). Despite Glenda ostensibly approaching Ricardo to purchase his prize show jumping horse, Carmelita, the two strike up an immediate romantic interest and decide to have dinner after conversing for about two minutes. At dinner, Ricardo learns that Glenda is the niece of his father’s (Henry Stephenson) longtime rival – the story behind their elder Crawford-Quintana animosity is pure contrivance – and, by his father, Don Diego Quintana’s, instructions, Ricardo refuses to sell the horse and departs immediately for home. Justifiably perplexed by Ricardo’s sudden temperamental change, Glenda decides to do what anyone would: convincing her aunt Binnie (Charlotte Greenwood) to accompany her down to Argentina to demand a straight answer from Ricardo. When Ricardo meets Glenda again over another dinner (complete with Carmen Miranda song-and-dance numbers), he explains the situation and the two reclaim and rekindle their quickfire love – to Don Diego’s horror.

Among the actors playing bit roles are J. Carrol Naish (who so often played characters of varying races and ethnicities he was nicknamed, “Hollywood’s one-man U.N.”) as ranch hand Casiano, Kay Aldridge, Leonid Kinskey, and Chris-Pin Martin (a Mexican-American actor and the only credited actor of Latin American descent in this movie other than Miranda) as Esteban. The Nicholas Brothers have a cameo that contains one of the great on-screen performances, but more on that later.

20th Century Fox musicals crafted within the Golden Age of Hollywood’s Studio System are anything but cerebral. If one is watching these films for intricate plots, dramatic statements, and philosophical themes, you may want to retool your approach to these works. Fox’s musicals are splashy, dripping with Technicolor, and never pretend to be something more than what they actually are. This remarkable energy begins with one of the top-billed actors/ Fox’s Darryl F. Zanuck intended Down Argentine Way as a vehicle for Fox’s two primary musical stars at that time – Don Ameche and Alice Faye. Betty Grable was Faye’s substitution when the latter fell ill. Despite both women being roughly the same age and having camera-friendly blonde locks, Grable’s higher, less husky voice lends the film a more youthful dynamism that Faye – a contralto who was a striking presence in her own distinctive way – cannot. Her chemistry with Ameche feels more akin to screwball comedy, the likes of which would inspire (and eventually eclipsed by) Marilyn Monroe. The Goldwyn Girl alumnus might not have been making her film debut, but this was certainly her coming-out extravaganza (she became a pin-up favorite for American soldiers in WWII), despite a chaotic screenplay and questionable acting from her own performance and of those surrounding her.

Fox’s executives must have realized that Carmen Miranda is a strange fit for a film set in Argentina and partly about a horse ranching family. Miranda’s jewelry-bedecked outfit and exposed midriff (the outfit, a baiana, is an embellishment on the clothes of African-Brazilians living in Bahia) makes her a flashy, exotified novelty in a movie attempting a half-baked narrative between Grable and Ameche. Down Argentine Way presents Miranda and her musical numbers (influenced by Brazilian and Cuban music) as a representation of South America, at large – someone did not complete any detailed research on the vast cultural differences between Argentina and Brazil. Unfortunately, this was the beginning of Miranda’s typecasting at Fox. Though she would garner supporting roles that gave her dialogue and subplots, Fox would make her costumes even more ostentatious than before, serving to further frame her as foreign, lusty, tropically exotic.

Other insensitivities of Latin Americans are sprinkled across the film’s runtime: laziness (how many siestas can Chris-Pin Martin take?), tomfoolery, freeloading, deceitful, longstanding Mexican stereotypes (see: the fiesta scene) carrying over to this film’s setting, and speaking the typical broken or heavy-accented English that Hollywood still associates with those having Latin American roots. American audiences might have enjoyed these Good Neighbor Policy-inspired movies, but Latin American governments took exception. The difference between American and Argentinian reactions could not be more stark. American moviegoers made Down Argentine Way Fox’s highest-grossing musical of 1940. Meanwhile, Argentina’s government, following an official screening of the film, refused to allow Down Argentine Way’s distribution to move forward in the titular nation. Viewers across Latin America would find the depiction of Argentina in Down Argentine Way as an incomprehensible mélange of Latin American influences,  without any care or understanding of the cultural nuances within and between Latin American nations (and primarily Argentina).

Even as Gone with the Wind and The Wizard of Oz headlined an incredible 1939 for Hollywood, color films remained expensive endeavors for the major studios. From the cinematography by Ray Rennahan (1941’s Blood and Sand, 1953’s Arrowhead) and Leon Shamroy (1953’s The Robe, 1963’s Cleopatra); the art direction by Richard Day (1931’s Arrowsmith, 1951’s A Streetcar Named Desire) and Joseph C. Wright (1928’s The Man Who Laughs, 1953’s Gentlemen Prefer Blondes); and the costumes by Travis Banton (1932’s Shanghai Express, 1945’s Scarlet Street) make full use of Down Argentine Way’s Technicolor – which seems to leap from the viewer’s screen. A legitimate copy or print of Down Argentine Way is the best way to experience this and, even then, the current available official prints of this film could use a restoration to further accentuate the glitzy colors that these craftsmen intended.

The Nicholas Brothers, Fayard and Harold, reprise the song in the film’s second half. In the late 1920s and early ‘30s (the height of swing jazz in America), the Nicholas were a headliner act at the Cotton Club in Harlem. There, they innovated their dancing style – a hybrid of ballet and tap that some call “acrobatic dancing” – and brought that to the masses through cinema. Despite their limited number of appearances in the movies due to the institutional racism of Hollywood casting, the Nicholas Brothers, years after the pinnacle of their talents, continue to grow their reputation as among the greatest dancers ever to grace American cinema. Their athletic routine for “Down Argentine Way” encapsulates the dancing expertise they brought to the screen – quick reactions, nifty footwork, and those splits. How can one not be in awe of their mastery?  

Carmen Miranda’s three songs – one at the film’s opening, the other two when Grable and Ameche’s character reunite in Argentina over dinner – are mostly in Portuguese. Only the opening song, “South American Way” has any English, but this is brief. Treat “South American Way” as a brief, one-minute appetizer that follows the opening credits. The two dinner-and-a-show samba songs once Grable touches down in Argentina are “Bambú, Bambú” (traditional music with lyrics by Almirante and Valdo de Abreu) “Mamãe Yo Quero” (music by Jararaca and Vicente Paiva, lyrics by Al Stillman). These numbers are nothing more than exotified showcases for Miranda’s theatrical instincts and singing ability – but what instincts, what ability she demonstrates.

Inconsequential though it seems to modern eyes, Down Argentine Way heralded the changing currents flowing through Hollywood’s relationship with Latin America as well as within 20th Century Fox itself. Down Argentine Way, however entertaining, is a clumsy attempt at placating the United States’ hemispheric neighbors in service of diplomatic goals. Though received poorly in South America, the adulation for this film in the United States prompted a half-decade wave of Good Neighbor Policy movies – most notably Disney’s Saludos Amigos (1942) and The Three Caballeros (1944). American filmmakers would mostly retreat to well-worn stereotypes over the next several years, solidifying cultural misconceptions of Latin America that have endured into this century. In Hollywood, the studios perfected their movie musical formulas over more than a decade following the silent era. With Down Argentine Way’s release, Betty Grable and Carmen Miranda became icons in America. But only Grable avoided being typecast; Miranda would be subject to the racial prejudice baked into Studio System at the time, never to fully escape it.

My rating: 6/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.