#stephen roberts

[ilovemesomevincentprice]

Vincent Price and Stephen Roberts -

Diary of a Madman (1963) dir. Reginald Leborg

[marypickfords]

Ginger Rogers in Romance in Manhattan (Stephen Roberts, 1935)

[citizenscreen]

Miriam Hopkins, William Collier Jr., and director Stephen Roberts during filming of THE STORY OF TEMPLE DRAKE (1933).

[movielog]

The Story of Temple Drake (1933) dir. Stephen Roberts

[rapturousrot]

The Story of Temple Drake (1933) dir. Stephen Roberts

[letterboxd-loggd]

The Ex-Mrs. Bradford (1936) Stephen Roberts

February 16th 2025

[cinematicpie]

If I Had A Million: “Grandma”, 1932 (dir. Stephen Roberts)

[erstwhile-punk-guerito]

[ellie88-blog-blog]

At War with The Army

The timeless classic "At War with The Army" features the iconic comedy duo of Dean Martin and Jerry Lewis, who began as a comedic act before achieving individual acclaim.

There have been many comedy duos throughout history, some everyone knows, such as Laurel and Hardy, others that have fallen into obscurity, like Pitts and Todd, but my favorite has always been Martin and Lewis. While they only lasted 10 years, their talents have lived on, though some of you may not have known that Dean Martin and Jerry Lewis started out as a comedic act before finding great…

[gatutor]

Virginia Bruce-Richard Arlen "Sky bride" 1932, de Stephen Roberts.

[footballmanageraddict]

#FM24 #AlphabetChallenge Part 21: Return To England Yields Immediate Rewards. A brief stint in Argentina ends as Trebor Mahtal receives a big offer from struggling @WestHam in December 2041. And he immediately leads the club to a cup final. Read here:

[derniere-seance]

Gary Cooper and Elliott Roosevelt, son of the president Franklin Roosevelt, having a chat on the set of One Sunday Afternoon, directed by Stephen Roberts, 1933.

[rwpohl]

the story of temple drake, stephen roberts 1933

[starlightseraph]

he’s so silly - part 2/?

[byneddiedingo]

Miriam Hopkins in The Story of Temple Drake (Stephen Roberts, 1933)

Cast: Miriam Hopkins, Jack La Rue, William Gargan, William Collier Jr., Irving Pichel, Jobyna Howland, Guy Standing, Elizabeth Patterson, Florence Eldridge, Louise Beavers. Screenplay: Oliver H.P. Garrett, based on a novel by William Faulkner. Cinematography: Carl Struss. Music: Karl Hajos, Bernhard Kaun. 

William Faulkner claimed that he wrote the novel Sanctuary for the money, which may have some truth in it -- it was one of his few best-selling novels. But if it's not on a par with The Sound and the Fury or As I Lay Dying or Go Down, Moses, it's a well-wrought book with a good deal more art than its sensational plot suggests: Temple Drake is a hedonistic Ole Miss coed who winds up at a bootlegger's hangout after an automobile accident and is abducted by a thug called Popeye who rapes her with a corncob (he's impotent) and forces her into prostitution. Naturally, Hollywood jumped at the chance to capitalize on the book's reputation, and equally naturally found itself unable to do anything but bowdlerize the story. Temple (Miriam Hopkins) is still a "bad girl," but gone are Popeye's impotence and the corncob, along with his name (presumably to avoid a lawsuit from the holders of the copyright on the cartoon character). In the movie he's called Trigger (Jack La Rue), and although the rape takes place (after a fadeout) in a corncrib, there's no hint of his incapacity. And in the end, Temple gets a chance to redeem herself in court at the trial of a man accused of the murder that Trigger actually committed -- a complete reversal of what happens in the book. Nevertheless, the film became one of the most notorious of the Pre-Code films that led to Hollywood's rigorous system of self-censorship. The problem is that it's a rather muddled movie. Roberts was a second-string director, and he fails to impose shape or coherence on the story, which was adapted by Oliver H.P. Garrett. Hopkins, in her 30s, is miscast as the flighty young Temple, and William Gargan, who plays the lawyer Stephen Benbow, alternately chews the scenery and fades into the background. La Rue, on the other hand, had a long career as a heavy and brings real menace to the part of Trigger, almost evoking Faulkner's description of Popeye's "vicious depthless quality of stamped tin." The best performance, though, is probably Florence Eldridge's as the downtrodden Ruby, who grudgingly tries to protect Temple from Trigger and the other men at the bootlegger's hangout. There is some Paramount gloss on the film: When she isn't in her underwear, Hopkins wears gowns by Travis Banton, and the cinematography by Karl Struss gives the movie a more sophisticated look than it really deserves. But the general feeling one gets is that Faulkner has once again been badly served by the movies.

[cinematicpie]

If I Had A Million: “Grandma”, 1932 (dir. Stephen Roberts)