#russell hopton

[screamscenepodcast]

For our 23rd horror adjacent episode, it's ZOMBIES ON BROADWAY (1945)! Directed by Gordon Douglas, the film stars the knock-off Abbott and Costello duo of Alan Carney and Wally Brown, and features a great performance from Bela Lugosi!

Context setting 00:00; Synopsis 13:13; Discussion 19:24

[letterboxd-loggd]

Dance, Fools, Dance (1931) Harry Beaumont

December 5th 2022

[whileiamdying]

THE SCREEN: “Mae West Reveals Herself as a Circus Queen in “I’m No Angel” at the Paramount—Saturday's Millions”

I'M NO ANGEL, based on a story by Mae West and supported by Lowell Brentano; music and lyrics by Harvey Brooks, Gladys Du Bois and Ben Ellison; directed by Wesley Ruggles; a Paramount production. At the Times Square and Brooklyn Paramounts.

Tira .... Mae West Jack Clayton .... Cary Grant Bill Barton .... Edward Arnold Slick .... Ralf Harolde Alicia Hatton .... Gertrude Michael Kirk .... Kent Taylor Thelma .... Dorothy Peterson Benny Pinkowitz .... Russell Hopton Beulah .... Gertrud Michael The Chump .... William Davidson Rajah .... Nigel de Bruller Bob .... Irving Pichel Omnes.... George Bruggeman Harry .... Nat Pendleton Chauffeur .... Morrie Cohen Judge .... Walter Walker

by MORDAUNT HALL.

Arrayed in a variety of costumes which set off her sinuous form, Mae West is appearing at the Paramount in her latest screen vehicle, "I'm No Angel," a title which, as might be surmised, fits the leading character. Here Miss West, who wrote the story herself from “suggestions contributed" by Lowell Brentano, is beheld as a circus beauty named Tira, who wins applause and admiration by risking her blond head in a lion's mouth twice daily.

It is a rapid-fire entertainment, with shameless but thoroughly contagious humor, and one in which Tira is always the mistress of the situation, whether it be in the cage with wild beasts, in her boudoir with admirers or in a court of law.

Tira is ever ready with & flip double entendre and' she permits no skeleton to be found behind her cupboard doors. She has an emphatic personality, which proves a magnet for even social lights with millions. She receives costly presents, Including diamond necklaces, but she is hardly a gold-digger. She refrains from posing, preferring to keep to her natural slangy speech in her journey through the story from a tent to a penthouse.

She admits that she has thrown discretion to the winds, and she sometimes finds herself in an awkward predicament, but through a wily lawyer she succeeds in proving that she is guiltless. The feeble parts of this picture are those in which a criminal known as Slick is introduced. The less one sees of him the better one feels, for the production is interesting only as long as it proceeds on its merry route.

The glimpses of Tira making her impressive entry to the circus arena and then proceeding to the big cage with the roaring lions are depicted shrewdly. Tira does not actually stick her whole head in the lion's mouth, but contents herself by putting her face between the beast's jaws, which is quite enough.

Even this is set forth with a certain degree of fun, and one feels that Tira probably has a pistol ready for an emergency and that other circus employees are ready to shoot in the event that the beast starts to close its mouth. But one is apt to wonder whether they could possibly be quick enough. Society among the spectators is thrilled, all except one snobbish girl, who is furious because her fiancé is very enthusiastic over the performer's courage-and her beauty.

Later there comes the time when Tira puts her fair head into a court of law as the plaintiff in a breach-of-promise case. She sues Jack Clayton, whom she really loves, for $1,000,000, and it is not Tira's artful counsel who wins the case, but the circus queen herself. She cross-examines the defendant's witnesses and turns their testimony in her own favor, the unusual proceeding being countenanced by a judge whose sympathy Tira wins with the utmost ease.

Miss West plays her part with the same brightness and naturalness that attended her second film role. There is no lack of spontaneity in her actions or in the utterance of her lines. She is a remarkable wit, after her fashion. Cary Grant is pleasing as Clayton and Walter Walker is excellent as the considerate old judge. Gregory Ratoff does well as Tara’s lawyer. Wesley Ruggles has directed the film with his usual intelligence.

[thewarmestplacetohide]

Dread by the Decade: Torture Ship

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Source Material: "A Thousand Deaths" by Jack London Year: 1939 Genre: Psychological Horror, Sci-Fi Horror Rating: UR (Recommended: PG-13) Country: United States Language: English Runtime: 57 minutes

Director: Victor Halperin Cinematographer: Jack Greenhalgh Editor: Holbrook N. Todd Writers: George Sayre, Harvey Huntley Cast: Irving Pichel, Lyle Talbor, Julie Bishop, Sheila Bromley, Anthony Averill, Russell Hopton, Julian Madison

Plot: A scientist traps criminals on a boat in order to experiment upon them.

Review: Despite its short runtime, this film feels like an overlong slog, with terrible writing, bland performances, and little of technical value.

Overall Rating: 0.5/5

Story: 0.5/5 - A series of tenuously connected scenes that feel like they were written by someone who has never read a story before.

Performances: 1/5 - Pichel's portrayal of a morally dubious scientist is generic. Everyone else ranges from unmemorable to downright horrible. Baffling accents abound.

Cinematography: 2/5 - Flat.

Editing: 1.5/5 - Very little flow between scenes. Lots of extremely abrupt transitions.

Sets: 1/5 - Wildly cheap. Many rooms do not look like they're on a boat at all.

Costumes, Hair, & Make-Up: 2.5/5

Trigger Warnings:

Mild violence

Human experimentation

Medical scenes

Ableism

[byneddiedingo]

Estelle Taylor, Beulah Bondi, and Eleanor Wesselhoeft in Street Scene (King Vidor, 1931) Cast: Sylvia Sidney, William Collier Jr., Estelle Taylor, Beulah Bondi, David Landau, Frank McHugh, Russell Hopton, Greta Granstedt, Eleanor Wesselhoeft, Walter Miller, Max Montor, Ann Kostant, Allen Fox, John Qualen, Lambert Rogers, George Humbert, Helen Lovett, Nora Cecil. Screenplay: Elmer Rice, based on his play. Cinematography: George Barnes. Production design: Richard Day. Film editing: Hugh Bennett. Music: Alfred Newman. Ninety-one years later, King Vidor's Street Scene remains one of the best translations ever made of a stage play into a movie. I think it's largely because Vidor and screenwriter Elmer Rice, adapting his Pulitzer Prize-winning play, avoided the temptation to "open out" the play. The focus of both play and film has to be the façade of the tenement house in which the characters live. Director and writer resist the temptation to go inside, even to show the double murder that forms the climax of the drama. Vidor does give the setting a little more context, with shots of the street and the city rooftops, and there's a scene inside a taxicab arriving at the brownstone, as well as a swish-pan montage of faces popping into windows along the street as people hear the gunshots. But virtually all of the action takes place where it should: on the front steps and in the flanking and upper-story windows of the tenement. What keeps Street Scene from bogging down as one-set films tend to do is the constant mobility of the camera, seeking out a variety of angles on the characters as they come and go. Several of the actors, including Beulah Bondi, John Qualen, Eleanor Wesselhoeft, George Humbert, and Ann Kostant, had performed their roles on Broadway, so they were already keyed into the kind of ensemble playing that Street Scene demands. This was Bondi's film debut, and she's a standout in the key role of the malicious gossip Emma Jones, a hypocrite whose son is a bully and whose daughter behaves like what Emma would call a tramp if she were someone else's daughter. The newcomers to the play also handle themselves admirably, especially Sylvia Sidney and Estelle Taylor as Rose Maurrant and her mother, Anna. The weak link in the cast is William Collier Jr. as Sam Kaplan, who comes across as something of a wuss, unable to defend himself against the bullying Vincent Jones, and a sap in his love scenes with Sidney's Rose, making us wonder what she sees in him. Street Scene also trades a little heavily in stereotypes: the Italians who love music, the Irishman who's a drunk, the Jews who are somewhat isolated from the rest of the tenants, and even the Swede with a comic accent -- one of John Qualen's specialties. Like most of the films produced by Sam Goldwyn, Street Scene has high production values, particularly Richard Day's set, which was modeled on Jo Mielziner's Broadway set; the cinematography by George Barnes with some uncredited assistance from Gregg Toland; and Alfred Newman's score, which features a bluesy Gershwinesque theme that he would re-use in half a dozen other movies even after he left Goldwyn for 20th Century Fox.

[alfred-st-john]

From Beware of Ladies (1936)

[badgaymovies]

Today's review on MyOldAddiction.com, Min and Bill by #GeorgeWHill starring #MarieDressler and #WallaceBeery, "All its tired devices are put across with a great deal of heart" GEORGE W. HILL Bil's rating (out of 5): BBB.  USA, 1930.  Metro-Goldwyn-Mayer.  Screenplay by…

[michigandrifter]

Law & Order 1932

[frankenpagie]

7.22.18 (4)

[letterboxd-loggd]

Frisco Waterfront (When We Look Back) (1935) Arthur Lubin and Joseph Santley

July 8th 2023

[iliketowatchmoviesalot]

02-14-2017 Street Scene (1931) http://www.imdb.com/title/tt0022436/

Elmer Rice wrote Street Scene in 1929, a play that opened in January and totalled over 600 performances on Broadway, eventually winning the Pulitzer Prize for Drama in the same year. It depicts the events on a New York City street on a hot summer’s afternoon and the next morning, and it was adapted by King Vidor in 1931, one of his two feature films to be released that year, together with The Champ. It is a lovely romantic little drama, full of laughs, tears and colourful characters.

We are introduced to a number of characters in a slightly chaotic opening scene, all living in the same apartment complex in Hell’s Kitchen, New York City. It is hot outside, and people try to find an escape from this intolerable heat by complaining about it together on the front steps of the building. One of the families living in the building consist of Frank Maurrant (David Landau), his wife Anna (Estelle Taylor), their daughter Rose (Sylvia Sidney) and their son Willie (Lambert Rogers). Frank and Anna have fallen out of love, and just when Frank has left for Stamford, Connecticut for the day, Anna invites the milkman inside. Frank comes home early and sees his wife with the milkman, causing drama for all involved.

Vidor portrays his characters as humanistic as possible. There can’t be any movie stars in a heatwave, so the actors are sweaty and get their clothes stuck in their buttcrack; only Sylvia Sidney seems to be able to stay beautiful and out of the ordinary in the heat. Like the play, Street Scene takes place on just one set (except for one scene in a taxi), and by confining himself in this way Vidor could concentrate on the poignant story and vivid characters (who mostly gossip and discuss politics and immigration, without being afraid to come across as a bigot). The result is wonderful, a movie that breathes life and humanity, leaving the audience moved.

8

[byneddiedingo]

Joan Carroll and Bill Robinson in One Mile From Heaven (Allan Dwan, 1937)

Cast: Claire Trevor, Sally Blane, Douglas Fowley, Fredi Washington, Bill Robinson, Joan Carroll, Ralf Harolde, John Eldredge, Paul McVey, Ray Walker, Russell Hopton, Chick Chandler, Eddie Anderson, Howard HIckman. Screenplay: Robin Harris, Alfred Golden, Lou Breslow, John Patrick, based on a story by Ben B. Lindsey. Cinematography: Sidney Wagner. Art direction: Bernard Herzbrun. Film editing: Fred Allen. Music: Samuel Kaylin.

In One Mile From Heaven, a reporter happens upon a Black woman who is raising a white child and says that the little girl is her own daughter. The reporter immediately sees it as a hot news item. It's an odd and distasteful premise for a movie, especially if, as in this case, the child is happy, well cared-for, and loves her mother, who's entirely capable of raising her. It's the mere fact of the racial disparity that sets Lucy Warren (Claire Trevor) on the course of exposing the relationship of Flora Jackson (Fredi Washington) and her putative daughter, Sunny (Joan Carroll), leading to the discovery of Sunny's birth mother, the wealthy (and white) Barbara Harrison (Sally Blane). It winds up with what's supposed to be a happy ending. That the movie is played as a sentimental comedy laced with musical numbers supplied by a tap-dancing Black policeman (Bill Robinson) only makes it seem odder. It could, after all, have been an indictment of nosy journalism, or a story of racial injustice, but instead it's a grab-bag of movie tropes, including a press room filled with anything-for-a-scoop reporters straight out of The Front Page (Lewis Milestone, 1931), and a thwarted prison escape that comes out of nowhere and has only a tangential relationship to the main plot. Allan Dwan handles all of this with his usual finesse, but is never quite able to make a coherent film out of it. This was Washington's last film before she retired from acting and devoted her life to civil rights activism. The movie, based on an actual case in Denver, serves as evidence why that activism was needed. 

[manualstogo]

For just $3.99 Released on June 6, 1926: The classic Cinderella fairy tale updated to Hollywood style and presented as a slap-stick comedy. Genre: Comedy Duration: 1h 15min Director: Alfred E. Green Actors: Colleen Moore (Ella Cinders), Lloyd Hughes (Waite Lifter), Vera Lewis (Ma Cinders), Doris Baker (Lotta Pill), Emily Gerdes (Prissy Pill), Mike Donlin (film studio gate guard), Jed Prouty (Mayor), Jack Duffy (the fire chief), Harry Allen (photographer), Alfred E. Green (director), D'arcy Corrigan (editor), E.H. Calvert (studio actor), Russell Hopton (studio actor), Harry Langdon (himself, Harry Langdon), Chief Yowlachie (American Indian) *** This item will be supplied on a quality disc and will be sent in a sleeve that is designed for posting CD's DVDs *** This item will be sent by 1st class post for quick delivery. Should you not receive your item within 12 working days of making payment, please contact me so we can solve this or any other questions. Note: All my products are either my own work, licensed to me directly or supplied to me under a GPL/GNU License. No Trademarks, copyrights or rules have been violated by this item. This product complies with rules on compilations, international media, and downloadable media. All items are supplied on CD or DVD.

[architectnews]

London Architecture Photos: Building Images

London Architecture Photos, Buildings, Image, Major Projects, Pictures, Links

London Architecture Photos

Key Architectural Images in the British Capital, England

post updated 12 June 2021

London Architectural Photos

London Architecture Photos

No 1 Poultry

Bloomberg European Headquarters

Previously:

22 + 21 + 20 Apr 2016 – new photos loaded

King’s Cross Building Photos

Cartwright Gardens – Euston Road building Design: MaccreanorLavington Architects

Brunswick Centre by late architect Patrick Hodgkinson The Brunswick Centre is a Grade II listed residential and shopping centre in Bloomsbury, Camden. It is located between Brunswick Square and Russell Square. The centre replaced streets of run-down Georgian era terrace housing.

It was designed by British architect Patrick Hodgkinson in the mid-1960s, based on studies by Leslie Martin. It was initially planned as a private development at a time when private, mixed-use development in the UK was rare. Building started in 1967 and was completed in 1972.

St Pancras Renaissance London Hotel Gothic as a style has been living it’s revival in culture for some time now, to mention the most recent fascination with vampires thanks to the Twilight saga at the very least. There is a romantic notion of gothic architecture giving home to spiritual secrets and creating fantasy worlds.

London church building photos

Mayfair building photos

Regents Place building images

45 Park Lane Building, Mayfair Design: The Office of Thierry W. Despont / Paul Davis + Partners

London retail building photos

Art Deco building – McCann, Bloomsbury

Claridge’s Hotel building

Soho building photos

New Tottenham Court Road Station at Centre Point tower

Hotel Russell:

Royal Academy of Music London building:

Other new London architectural photos interspersed within links below.

Images all online, mostly loaded to individual pages linked below

7 Nov 2012 Recent / Current projects – Photographs © Adrian Welch, alphabetical:

Number One Poultry Adelaide House Apex Temple Court Bank of England Building Barking Central buildings Bateman’s Row BBC Building Bedford Square Buildings 50 Bond Street building Bracken House British Library British Museum Building Brook Street building Burlington Arcade Cannon Street Offices Central Saint Martins Bishopsgate Building City of London Buildings Claridge’s Hotel London 30 Crown Place Daily Express Building Daily Telegraph Building Donnybrook Quarter East Road Building Economist Building Empire Theatre Building Euston Station Finsbury Square – Broadgate Fishmongers’ Hall Fleet Street Buildings Fleet Street church 65 Hopton Street Fortnum Mason Gherkin – Swiss Re Building GLA Building Hays Galleria Hays Wharf Building Holy Trinity Church Kings Place Landmark Hotel Leadenhall Building Leadenhall Market Leicester Square Building Lillywhites London Liverpool Street Station Lloyds Building Aviary at London Zoo London City Plaza London Hippodrome The Monument London London Transport Museum London Zoo Building Lord’s Mound Stand Lux Building, Hoxton Lyceum Theatre Marylebone Station Moorfields Eye Hospital More London Natwest Tower Neo Bankside New Zealand House Nile Street Building Noel Coward Theatre Norman Shaw Building The Pinnacle Building Regents Park Mosque Ritz Hotel Rivington Place Royal Academy London Royal Courts Justice Royal Opera House Silken Aldwych Hotel Sofitel London St James Somerset House St Clement Danes St James Arcade St James Piccadilly St Mary Le Bow St Paul’s Cathedral St Paul’s Covent Garden Stratford Bus Station Stratford Train Station The Shard London The Shoal Stratford Tower Bridge UCL Buildings Unison Building Vue Leicester Square W London Hotel Westfield Stratford City Westfield White City White Cube Hoxton Square Wood Lane Station Walkie Talkie Building

Recent / Current projects – Photographs © Adrian Welch Sep 2012, alphabetical:

All Souls Church BBC Building Bishopsgate Institute BT Tower – Telecom Tower Diana Memorial, Hyde Park Euston Tower Hyde Park pavilion Imperial College Building Italian Gardens, Hyde Park Lancaster Gate Hotel Church, Exhibition Road Langham Hotel Marble Arch building Marble Arch Natural History Museum Oxford Street building Oxford Street shop Regents Place buildings RIBA Building Serpentine Pavilion building St Pancras Church building St Pancras Station University College Hospital Wigmore Hall

London Building Photos © Nick Weall photo © Nick Weall

London Building Images © Steven Powell, 2010

Fashion Textile Museum, 83 Bermondsey Street, Bermondsey For Zandra Rhodes Architects: Ricardo Legorreta with Alan Camp architects

City Point, Moor Lane Santiago Calatrava / Sheppard Robson City Point London

City of London Offices

London Architecture Pictures : Images copyright Joe Lekas from 2010

London Building Photographs

London Tower Bridge ; Millennium Bridge:

More London Architecture photos online soon

All photos available for purchase – mail info(at)e-architect.com

Recent / Current projects – Photographs © Adrian Welch Sep 2010:

Alban Gate Aldermanbury Square Bezier apartments Central St Giles Centre Point City Point Coldharbour Lane Daiwa Building Fifteen Restaurant Gainsborough Studios Gresham Street Guildhall Heron Tower Kings Cross Station London Wall Building Murray Grove Museum of London Newington Green Ropemaker Place Shoreditch Building St Lawrence Jewry St Mary Woolnoth St Pauls Church TUC Building Unison Building (former) Wellington Street Building Wood Street Building Aerial photographs © webbaviation, 27 Nov 2008: Alexander Palace Bank of England Buckingham Palace Finsbury Circus Globe Theatre Parliament Docklands Millennium Dome Swiss Re Tate Modern Tower Bridge Tower of London Trafalgar Square Recent / Current projects – Photographs © Adrian Welch Sep 2008: Bankside 123 Bishopsgate Tower Palestra Serpentine Pavilion Spitalfields building Photos © Adrian Welch / Isabelle Lomholt May 2007: Big Ben The Cenotaph Clore Gallery Emirates Stadium Graduate Centre Hungerford Bridge Islington houses London churches London Eye London skyscrapers National Gallery Natural History Museum Oxo Tower Paternoster buildings Portcullis House St Mary Woolnoth South Bank Centre 30 St Mary’s Axe Tate Britain Tate Modern Victoria & Albert Museum Victoria Station Willis building Wobbly bridge

Photographs taken with Panasonic DMC-FX01 lumix camera; Leica lense: 2816×2112 pixels – original photos available upon request: info(at)e-architect.com

Location: London, England, UK

London Building Designs

Contemporary London Architectural Designs

London Architecture Links – chronological list

London Architecture Tours – bespoke UK capital city walks by e-architect

London Architects Offices

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London Buildings

Marble Arch:

River Thames Buildings

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Buildings / photos for the London Architecture Photos page welcome

The post London Architecture Photos: Building Images appeared first on e-architect.

[mrclinical]

Street Scene (1931)

Directed by King Vidor

Rating: 77/100

Adapted from Elmer Rice’s 1928 play of the same name, King Vidor’s Street Scene is a film which explored contemporary metropolitan society through a door-step microcosm. The film takes place almost wholly in front of an apartment block inhabited by a Caucasian menagerie - a hodgepodge of the white working classes, aspiring middle-classes and the proletariat  intelligentsia. These character’s flitter in and out of the simmering New York heat discussing their social issues through the gauze of gossip and idle chatter. In many senses it is a domestic tragedy predominantly about the role of women, or moreover, about how they each navigate the patriarchy as an honorary angel of the house. 

The narrative centre of the film is the archetypal middle-class nuclear family, the Maurrants. Estelle Taylor plays Anna Maurrant, the name on everyone’s lips, a mother, wife and presumed adulterous, who slips behind her authoritarian husband’s (David Landau) back, to meet up with her male “friend” Steve Sankey (Russell Hopton) - who in a comic twist also happens to be every man’s greatest fear: an extremely optimistic milkman. As whispering of infidelity transverse around the neighbourhood, her daughter Rose (Sylvia Sidney) is starting her own romantic voyage, dodging the clutches of rough proles and letchy liver-spotted gentleman, for the warm embrace and sensibility of aspiring writer and romantic Kaplan (William Collier. Jr). Rose represents the emergence of the new woman - the kind of woman whose romantic illusions are more measured, who have learnt from the suffrage of the generation of women before them - a generation who married hastily and often for the wrong reasons.  

Ultimately, Vidor’s films reminds the audience that living in close and diverse quarters can be a double-edged sword. For, although, community can be something akin to a modern utilitarianism, where everyone chips in and supports one another, it ultimately breaks down because of humanity's inherent frailties - the scourge of jealousy, disgust and prejudice which live all in our own dark corners. Unable to escape from the prying eyes and flapping gums of the community, who Vidor has leaning out of windows ajar and malingering on the front steps, the family fall victim to the devastating consequences of the mounting hearsay. The film’s theatrical inclinations do slightly neuter its emotional punch, but it's an impressive picture nonetheless, with some clever directorial touches from Vidor who handles the material with meditative deliberation.