A positive review from a local critic declaring the film “a satisfyingly taut suspenser.”  By A. Long

A positive review from a local critic declaring the film “a moody horror/thriller elevated by deft staging and the director's well-known narrative gamesmanship.”  By A. Long

To keep the film within Pennsylvania, Shyamalan orders casting calls in local cities.  By A. Long

M. Night Shyamalan targets an ordinary audience. He wants to make a cross-generational movie for everyone from parents, children, grandchildren. Shyamalan uses his vision to transform a B-movie genre of alien invasion into an emotional tale of faith and belief. The film’s prevailing theme of the resilience of the human spirit led critics to interpret the film as almost a response to September 11^th.  By A. Long

While the director stays close to Philadelphia for personal reasons of family and preference, the new location creates a more organic space for filmmaking, spurring more original ideas. For the set of the farm, Shyamalan rented 100 acres of fields at the Delaware Valley College to plant 40-acres of corn and construct an entire farmhouse. After the movie’s production, the house was torn down and all of the corn was donated to the school. The director claims to deliberately focus the settings of his plots in the Philadelphia-area (for example Bucks County and the Eastern State Penitentiary).  By A. Long

M. Night Shyamalan further centers the film’s themes on lost faith and later redemption of the protagonist Graham Hess. He connects worship beyond just the characters, but into a more self-conscious worship of cinema, the motivation of audiences to repeatedly attend screenings in movie theatres. Whether in reverence or otherwise, the director cleverly uses silence as a device for plot and representation.  By A. Long

Signs is shot in various locations in the Philadelphia area, mainly Doylestown, Morrisville, and Newtown. M. Night Shyamalan has a close association with these locations as his home is in close proximity, in Gladwyne, PA. Perhaps his own connections with the setting as well as the narrative was the cause of his devastation when his earlier film Unbreakable failed to connect well with audiences.  By A. Long

M. Night Shyamalan’s films often feature a fascination with the middle class family. His films appeal to wide ranging audiences and demographics. As Hollywood’s highest paid screenwriter, Shyamalan is on his way to becoming a modern auteur, opening a film with his name.  By A. Long

M. Night Shyamalan’s Contributions to the Greater Philadelphia Film Office.Philadelphia has experienced a recent loss of projects to Canada. The success of M. Night Shyamalan’s films have created a new industry understanding of Philadelphia as a production center, increasing resources and experiences available to support future productions. The convention center and two city-owned warehouses have recently been transformed into free municipally run soundstages. Pinkenson explains that GPFO has always served as a nonprofit organization for the local film community.  By A. Long

Delaney is reluctant to leave comfortably established role in “NYPD,” but expressed more confidence when Bochco is confirmed as the show’s executive producer.  By A. Long

Bochco expresses understanding of ABC time changes, but worries about “NYPDs” new competition on Wednesday night. “NYPD” now occupies the 10PM timeslot against NBC’s “Law & Order” while “Philly” will take over “NYPD’s” old Tuesday slot. ABC explains its refusal to renew NYPD just yet as a sound decision from a business standpoint.  By A. Long

“Philly” is scheduled to run during “NYPD Blue’s” timeslot on Tuesdays. NYPD Blue’s performance in its new timeslot on Wednesday worries Bochco, since the network has not renewed the show for its 10^th season. The network hopes the Tuesday timeslot will capture the established NYPD audience.  By A. Long

Rutenberg examines the causes for increases in explicit language present in “Philly” as opposed to his previous “NYPD Blue.” Broadcast television has been long characterized with significant give-and-take exchanges between censors and producers to gradually lower standards. Traditionally, standards on broadcast have been higher due to public accessibility versus the anything-goes cable network, which has recently been posing a threat to network’s market share. Changing censorship rules are molding the movement of both television and pop/local culture. Bochco continues to demand looser restrictions.  By A. Long

Kim Delaney leaves “NYPD Blue” in order to star in Bochco’s new “Philly.” The agreement is a win-win situation for the actress as she is guaranteed a returning role to “NYPD Blue” should the show be canceled after 13 episodes. Bochco states that he felt Delaney was underutilized on the current show and welcomed the opportunity to write a new role for her. While two roles of Diane Russell and Kathleen Macguire are women working around criminals and male coworkers, the new character of Kathleen is less cynical and damaged. Delaney interviewed several Philadelphia-based defense lawyers in preparation for her role.  By A. Long

Gallo speculates that the public acceptance of Bochco’s trial drama depends on former “NYPD Blue” star Kim Delaney’s performance as Kathleen Macguire. The character roles are fairly similar: strong candid females with inexplicable drive to set things right. The city is subtly a background, with few differences from New York City.  By A. Long

Bochco’s recent wartime drama portraying the war in Iraq fails to receive much audience attention. Gray contends that while the show is worthwhile and deserves a larger audience, both the smaller cable network and unresolved ending of an ongoing war contribute to its low exposure. Perhaps the audience feels like they are simply watching the news in drama form.  By A. Long

Philadelphia –born actress Kim Delaney was arrested Malibu, California on suspicion of drunk driving. She was arrested and given two years probation, $300 fine, and ordered to attend a safe driving class as a result of her arrest for drunken driving.  By A. Long

Deggan explains the controversial racial issues of the show "Philly". He questions Bochco’s lack of consideration for the implications of an all-white core cast defending black offenders for Philadelphia. Racial groups such NAACP, La Raza, and many minority viewers have expressed outrage that 21^st century television does not better reflect the changing composition and increasing diversity of our society. By A. Long

The President of the NAACP, Kweisi Mfume, calls the fall's major-network lineup a ''virtual whitewash,'' highlighting the blatant absence of black, Latino, or Asian actors in prominent roles in the new shows premiering on ABC, CBS, NBC, and Fox. Mfume called this ''a glaring omission,'' adding that ''African-Americans make up 13 percent of the population; we feel that our presence should be appropriately reflected.'' However, well-known producer, Steven Bochco, is creating a new show with a predominately Black cast.  By A. Long

Back to Bochco. Mark-Paul Gosselaar, who played Detective John Clark on Steven Bochco's NYPD Blue from '01 to '05, will rejoin his old boss on the new hit drama, Commander in Chief. The show (and many other produced by Bochco) have difficulties generating interest within the younger viewer demographic. Positive local reception of his shows remain concentrated in much older viewers, with an average age of almost 60.  By A. Long

Review of the Fugazi album, “In on the Killtaker”. Review starts off with, “Fugazi makes records the way the late, great John Cassavetes made films - with iron-willed independence and a rare gift for portraying harrowing worlds of raw emotion.” It’s interesting to see how the Philadelphia critical press approaches this album review through the Cassavetes song and the significance he has in the world of independent media.

Announcement that on July 9^th, PBS will do an “American Masters” on Cassavetes. Cassavetes’s canonization by PBS is announced in the Philadelphia Daily News as a means of advertising the show, but it is another insistence of the importance of John Cassavetes as an American artist.  By G. Bond

Philadelphia learns of Cassavetes’s death and begins to explore his career.  By G. Bond

Popularity of the convertible, as evidenced by the celebrities who drive the, including John Cassavetes and Gena Rowlands. Indication of Cassavetes’s level of celebrity in Philadelphia.  By G. Bond

Life of this chef and restaurant owner, whose restaurant Konstantino’s, “attracted notables including Peter Falk, John Cassavetes and the former Princess Irene of Greece.” Fifteen years after shooting “Mickey and Nicky”, and one month after his death, Cassavetes is remembered as being one of the celebrities that graced Janus’s restaurant, an indication of the mark he left after his short time in Philadelphia.  By G. Bond

Alexandre Rockwell, the director of “In the Soup”, is refered to as a “John Cassavetes-Sam Fuller protégé”.  The Philadelphia critical press places Alexandre Rockwell in a lineage forged by John Cassavetes, once again keeping Cassavetes in a historical context.  By G. Bond

The exhibition, titled “Gloria” and concerning feminist art of the 1970’s, partially inspired by the Cassavetes film of the same name. Evidence of the continuing presence of Cassavetes on the Philadelphia art scene.  By G. Bond

One year after his death, Philadelphia’s International House takes up the job of commemorating him with a 12-title retrospective. Not only does the International House make a step in the direction of canonizing Cassavetes, but Ryan does his part too, meditating on Cassavetes and his roles as director and actor. By G. Bond

"Like Cassavetes, he is at his best in finding the revealing moment of truth in a mundane remark or admission." Another illustration of the importance of Cassavetes to the Philadelphia critical press and their means of discussing "edgy" cinema. By G. Bond

There have been numerous screenings of Cassavetes’s films throughout Philadelphia since his death, and they have served an important part in the continuation of his legacy. In his brief synopsis promoting the screening, Ryan writes, “The late and much lamented John Cassavetes financed his adventurous career as a director by acting in flagrantly commercial movies. His own films found only a cult following, with the exception of Gloria, starring Gena Rowlands (Cassavetes' wife) as a gangster's moll in a witty variation on Little Miss Marker. The film offers the spontaneity of Cassavetes' more experimental work in a more disciplined format. By G. Bond

As a Philadelphia critic, and the one with the most experience with Cassavetes, it is fitting that Ryan writes his obituary for The Philadelphia Inquirer, and so he begins the posthumous canonization, finding a way to define his work in the context of history and its great influence and importance.  By G. Bond

Desmond Ryan reveals his love for Cassavetes in this overall negative review. While Ryan did not like the film, he blames the writer, explicitly saying Cassavetes did what he could with the script.  By G. Bond

The film was shot in Philadelphia in 1973. The usually Cassavetes-friendly Ryan does not like “Mikey and Nicky”, but still manages to say something nice about him, “it is gruesome to think how bad this film would be without Peter Falk and John Cassavetes in the leads”. He even goes so far as to praise his directing unprovoked, “the inescapable conclusion is that Cassavetes, for all his faults, does this kind of film with more spontaneity and impact.”  By G. Bond

In discussing Kasdan’s balancing his career between projects like “Raiders of the Lost Ark” and more adult films like “The Big Chill”, Kasdan, “does not see himself as an artist who toils in flagrantly commercial enterprises to finance his important work - a defense John Cassavetes offers for some of the roles he takes. A seemingly unprovoked reference to Cassavetes, such as the one made by Ryan here, both serves to indicate the extent to which Cassavetes and his characteristics as an actor and a director have become ingrained in the language of filmmaking, and it serves to confirm his place in film history.  By G. Bond

Announcement of “Love Streams”, in the context of Gena Rowlands and John Cassavetes and husband and wife, co-actors, and director and actor. Continuation of Cassevetes career as defined in the Philadelphia press by his marriage to Gena Rowlands.  By G. Bond

Ryan demonstrates the contemporary view of Cassavetes and his balance between his artistic directing work and his B-movie acting work, “Cassavetes' excuse for incubating is that the money he earns from trash like The Incubus helps pay the bills for his own work as a filmmaker. The price of a Gloria is very high, and he had better make something equally good to atone for slumming through The Incubus.”  By G. Bond

This small article from The Philadelphia Inquirer shows how Cassavetes and Rowlands were, at least partially, defined in the media by their working marriage. By G. Bond

This review of “The Tempest” illustrates Ryan’s admiration for Cassavetes as an actor, but this praise cannot be removed from his love of his directing. “Phillip, the Prospero of Mazursky's story, is played by John Cassavetes with a fervor that makes one wish his passion for directing allowed him more time in front of the camera”  By G. Bond

Philadelphia’s habit of Cassavetes retrospectives moves from International House to Temple University Cinematheque.  By G. Bond

“Faces” is being screened at the Temple Cinematheque in Philadelphia. Another instance in the maintaining of Cassavetes’s legacy through retrospective screenings.

Cassavetes’s “A Woman Under the Influence” is inducted into the National Film Registry.  Cassavetes is canonized by the government.  By G. Bond

Review says, “Seymour Cassel, the veteran of so many John Cassavetes pictures - pictures that Trees Lounge evokes in its emphasis on characters over plot - also turns up briefly.” An indication of the presence of Cassavetes on the conscious of the Philadelphia critic, as well as the extent to which even after his death, Cassavetes remains in dialogue with independent cinema. By G. Bond

In her review for “The Big Dis”, Rickey points out the influences of Cassavetes of the film’s makers, from its handheld 16mm cinematography to the productions that “state that the script is based on an improvisation by the cast”.  By G. Bond

John Cassavetes retrospective at the International House, specifically “Opening Night” and “Husbands”. By G. Bond

At this early point in figuring out Cassavetes’s place in film history following his death, Carrie Rickey makes a statement for his canonization. It is also impressive because, while she got the film wrong, Cassavetes did make the National Registry with “A Woman Under the Influence”.  By G. Bond

Article on 1986 Los Angeles Film Critics Awards. John Cassavetes is given the career achievement award. Philadelphia was made aware of the significance of Cassavetes’s career.

Review says, “’In the Soup’ also stars Seymour Cassel, a big bear of a character actor and repertorial fixture of an earlier era's indie film pioneer - John Cassavetes. The Philadelphia critical press demonstrates its awareness of the history of independent cinema by connecting this film’s being an indie film with Seymour Cassel, the film’s link to the birth of independent cinema and John Cassavetes.  By G. Bond

Godard dedicated “Detective” to John Cassavetes, Edgard Gulmer, and Clint Eastwood, saying, “I dedicated the film to these three because of the way they have been able to make movies outside the system, the way they have beaten the system.”  The publishing of this article in The Philadelphia Inquirer is a testament to the love of cinema in Philadelphia, but it also serves as further propagating the legacy of John Cassavetes, particularly from such a widely recognizable name.  By G. Bond

Negative review of Love Streams. Prior to his death, there were still mixed feelings within the Philadelphia critical press about Cassavetes. Lyman says, “All the time-tested Cassavetes staples are on view in Love Streams - intense close-ups, extreme long takes, a focus on character rather than narrative… In his best movies - such as Faces (1968) - these artsy effects gave the movie a gut-wrenching improvisational quality. In Love Streams, they feel old- fashioned, one last self-congratulatory beatnik wail.”  By G. Bond

Through this article, The Philadelphia Inquirer provided a voice for Bogdanovich, openly making the statement that he prefers Cassavetes to the “cartoon-like” work of Lucas and Spielberg, and thereby makes a step forward for independently-minded cinema.  By G. Bond

Discussion of the American New Wave, centered around Cassavetes’s “Shadows” as “probably the most influential and important movie of the American New Wave” and “a stark, realistic and improvisational classic”.Again, between the retrospective itself and the article in The Philadelphia Inquirer, Philadelphia has contributed to the life of “Shadows” and Cassavetes’s work as a whole.  By G. Bond

In this article for the television section of The Philadelphia Inquirer, the story is told about how Matt Laborteaux got his role in “A Woman Under the Influence” when Cassavetes asked him if he could cry on the spot, and when he could, he gave him the job. This is one of the most famous stories of John Cassavetes, and here in this article on the stars of “Little House On the Prairie” in the television section of the Philadelphia paper, the legend grows a little bigger.  By G. Bond

In The Philadelphia Inquirer, Kevin L. Goldman wrote this article talking about Hollywood’s use of Atlantic City. Cassavetes is used as the focal point of the film and its interaction with the space of Atlantic City.  By G. Bond

Philadelphia’s reception of news from the international film festival regarding Cassavetes, with a very positive review of his performance.  By G. Bond

The video release of “The Killing of a Chinese Bookie”. The brief description of the film says it is “shoddy and pretentious”, but that it has a “quirky charm”. While not terribly significant, this is evidence of the presence of John Cassavetes in the Philadelphia conscious.  By G. Bond

Celebrating the culture of pasta restaurants in Philadelphia, one of them lists John Cassavetes and Peter Falk among its star clientele.Twenty-five years after Cassavetes and Falk shot “Mikey and Nicky” in Philadelphia, their visits to restaurants are still recalled as signs of the golden era. By G. Bond

According to this review, Baltake represents a critical fanbase in Philadelphia for Cassavetes before his death.  By G. Bond

Review of the film “Parting Glances”.  Baltake refers to the “kind of large ensemble doing the kind of spontaneous turns (improvisations?) rarely seen except in the work of John Cassavetes.” Cassavetes is synonymous with a large cast that improvises, this article leads us to believe, or at least for this Philadelphia critic.  By G. Bond

While talking about Frank Sinatra, Baltake says he has a fantasy of seeing Sinatra in a Cassavetes film. “Sinatra was made for Cassavetes. Cassavetes makes dramatic movies, but they have the spirit of a tune and the poetry of a lyric, qualities which, on screen, have always showed Sinatra at his best, qualities that make it possible for Sinatra to conjure up the feelings that he brings to a song.”An unprovoked reference to a figure like Cassavetes leads one to believe that Cassavetes plays a big part in the collective cinematic conscious, and that the seemingly mythological pairing of Sinatra and Cassavetes confirms Cassavetes place a cultural figure of significance, especially when placed alongside Frank Sinatra.  By G. Bond

Baltake is critical of the movie, but is eager to praise Cassavetes’s performance saying he gives “the best performance of his career”. Like Ryan, however, Baltake can’t stop himself from talking about Cassavetes the director, “Through it all, one is aware of what Cassavetes himself might have whipped up in half the time and with half the money - probably a modern, gritty, ‘Waiting for Godot.’ He certainly would have made better use of the Philadelphia locations and the film's inherent sociology on ‘neighborhood’ life as the two buddies here walk the streets, sit in bars, ride the buses and reminisce.”  By G. Bond

Talking about the film “Can She Bake a Cherry Pie?”, Baltake requests the reader, “imagine what ‘Annie Hall’ might have been like if it had been made by John Cassavetes, you’ll get some idea of the jittery, discordant, vital movie that director Henry Jaglom has created here.  The Philadelphia critical press uses Cassavetes in a very referential way, solidifying his reputation as an ideal or prototype of an edgy, independent filmmaker.  By G. Bond

The Philadelphia Daily News, in promoting the first wave of home theater equipment, endorses purchasing the video of Gloria, under the heading of “Sleepers”. Referring to the gangster genre, Baltake says, “Needless to say, Cassavetes turns the genre upside-down. It’s exhilarating!” By G. Bond

Prior to Cassavetes’s death, the Philadelphia critical press wasn’t sure what they thought about him. While he praised “Gloria”, Baltake uses his review for “Love Streams” as a means of waxing analytical about Cassavetes and his aesthetics. “It's ironic, really. The problem with cinema verite - film that's devoted to "truth" and "reality" - is that, more often than not, the results look more silly than serious. There's a certain messiness to real life that evades the kind of structure that most people expect from movies. Films that attempt to capture "real time" on screen or that are based on candid spontaneity, improvisation and voyeurism tend to seem vague. Stripped of a definite beginning and ending and lacking a direct theme, a film of this nature doesn't seem to be about anything at all. Viewers have nothing to latch on to, nothing to watch - other than a director and his cast going through an eccentric theatrical exercise. Such is the case with John Cassavetes' "Love Streams."  By G. Bond

Philadelphia learns of Cassavetes’s death and summarizes his career.  By G. Bond

Adams’s review puts “Mikey and Nicky” into a Philadelphia context, saying, “Speaking of Philadelphia stories, Elaine May's jittery 1976 film is set entirely on the streets of Philadelphia, although people who've only seen the city in its post-deficit glory will hardly recognize the grungy streets and desolate alleys; a bar at Second and South looks more like a roadside dive in some Midwestern industrial town.” Adams also brings attention to a humorous anecdote that affected at least one Philadelphian, told by the producer Michael Hausman, that during his performance, “Cassavetes was so unrestrained that in the movie's opening sequence, he threw a liquor bottle out of a hotel window and struck a pedestrian below.” By G. Bond

Where Desmond Ryan’s article on the International House retrospective in 1990 was the Philadelphia critical press’s contribution to the framing of Cassavetes in film history following his death, Adams’s article on the 2004 International House retrospective is the continuation of the same discussion, with Philadelphia’s new contribution being a very theoretical dissection, and sometimes harsh criticism, of Cassavetes’s career as a director.  By G. Bond

In a formal interview, Oprah Winfrey discusses the preparation involved in playing an African American slave in “Beloved”. Jonathan Demme, the director, also comments on Oprah’s historical treatment of the character she plays. By J. Bruno

Critics comment on the reasons for the poor box office returns of “Beloved”, specifically citing plot structure and budget issues as the cause rather than the focus on African Americans as protagonists. By J. Bruno

This article reviews Jonathan Demme’s works, including “Philadelphia” and “Beloved”. More specifically, it focuses on Demme’s perspective of “Beloved” and the process he took to chose and shoot the film.  By J. Bruno

A commentator remarks about the story of “Beloved” not as a ghost tale, but one with profound African American spiritual elements. He provides a review from an African American perspective that serves to explicate Morrison’s themes in the novel.  By J. Bruno

The National Review deplores Jonathan Demme’s adaptation of Toni Morrison’s “Beloved”. The reporter claims that the movie focuses on the supernatural and is too confusing for audiences.  By J. Bruno

Maslin praises Demme for his deeply touching adaptation of Toni Morrison’s “Beloved”. The film succeeds in bringing historical African American slavery’s emotional issues to life. By J. Bruno

The article focuses on the public’s reception of the highly anticipated release of “Beloved” with regards to racial issues. Generally, “Beloved” will be a gauge for future mainstream Hollywood African American films.  By J. Bruno

This article chronicles the pitfalls of “Beloved” at the box office about a month after its release. The article cites that no critics labeled it a “must-see” film, although it boasts extensive camerawork, powerful scenes, and a moving score.  By J. Bruno

In a formal interview, Oprah Winfrey reveals how “Beloved” has changed her life. She also mentions the process she went through to prepare for the filming of the movie.  By J. Bruno

The reporter gives the movie only 1 to 2 stars. However, the review is overall positive, drawing on Demme’s rich and textured techniques to develop the themes of “Beloved”, as well as Oprah Winfrey’s star quality.  By J. Bruno

Thompson interviews with both Winfrey and Demme to discuss the long and challenging process that ”Beloved” took from book to film. Demme cites Philadelphia as a good shooting location replacing Cincinnati (where the book took place).  By J. Bruno

A movie critic cites Philadelphia’s “Beloved” as a prestige title that is in the running for an Oscar nomination.  By J. Bruno

A staff writer for the Philadelphia Daily News reports bits of gossip, one of them being Oprah’s treatment of sex scenes in “Beloved”.  By J. Bruno

In a formal review of “Beloved”, the newspaper reporter recalls the premise of the film, commenting on the difficulty in transition from Toni Morrison’s novel to the film. In his opinion, this ultimately contributes to the audience’s trouble in viewing the film.  By J. Bruno

The Philadelphia Daily News reviews Oprah’s charity benefit for “Beloved”. The article cites four Philadelphia organizations (Philadelphia Reads, the African-American Mueseum, Freedom Theatre, and Women in Transition) that profited from the event. Director Jonathan Demme also made an appearance to talk about the film.  By J. Bruno

William Franklin, a graduate lecturer for the school of Education at Penn, was selected among thousands of fans to fly to Chicago to have dinner with Oprah Winfrey and Jonathan Demme. Franklin chronicles his remarkable experience to Daily Pennsylvanian reporter Myrtland Roberts.  By J. Bruno

Toni Morrison, author of “Beloved”( the book on which the film was based) goes to Temple University in Philadelphia for a free symposium, coinciding with Temple’s week of dialogue on race.  By J. Bruno

This newspaper article depicts a movie gala for “Beloved”, hosted by Oprah Winfrey at the United Artists RiverView Plaza 17 in Philadelphia for charity benefits. The author describes the sights and sounds of the benefit, including Oprah’s positive appraisal of the city of Philadelphia.  By J. Bruno

Basically the article talks about the historical props and artifacts that designers looked for to put in the film. The producer, designer, and art director for the film talk about the process they went through in looking for specific pieces.  By J. Bruno

This article discusses Oprah’s participation in a tourism advertisement for Philadelphia. A few commentators praise Oprah and talk about her positive statements regarding the city.  By J. Bruno

A movie gossip column that comments on Oprah’s successful acting performance despite poor box office showings of “Beloved”.  By J. Bruno

The critic reviews “Beloved” as flawed in its portrayal of plot, but claims that the performances of the actors and actresses compensate for the defects.  By J. Bruno

The article discusses many media portrayals of slavery, particularly citing “Beloved” as the second Hollywood movie made about the treatment of slavery. Comparisons of the film are made to “Amistad”, a Spielberg film released 11 months prior to “Beloved”.  By J. Bruno

This film was the third most attended of the entire 2005    festival with an attendance of 833 in total.  This shows that the international film community is continuing to intrigue residents of Philadelphia.  No longer do the high attendances of film pertain to mainly films of the U.S.  By S. Plukas

The film Rittenhouse Square takes place in one of the best known hang-outs in Center City Philadelphia. Downey portrays the square in a very positive manner and provides Philadelphians with a beautiful outlook on their city. With the film taking place so close to home, Rittenhouse Square was the second most attended film in 2005, with nearly 1,000 attendees.  By S. Plukas

Music from the inside Out focuses primarily on Philadelphia's famous music orchestra. The orchestra which is known nationwide for their excellence is filmed playing to the question "What is music?" Philadelphia music lovers were amongst the over 500 attendees as you could enjoy music as well as a documentary. By S. Plukas

Camby expresses his distaste for optimism in movies such as Rocky.  He satirizes the optimism of Rocky and a number of other ‘feel good’ films through extrapolation of the events in the movie to a pessimistic outcome.  For example, he claims that Rocky should end with Rocky being exposed as a pedophile.  It is interesting to note that this is exactly the type of movie that Sylvester Stallone didn’t want to make when he wrote Rocky.  By D. Goldstein

This article is a preview of upcoming films in November, 1976.  The author states that 1976 (up to and including October of that year) was the “year of the bomb” and expresses his worriment over having a year of complete “blahs.”  Rocky, the future recipient of the Oscar’s Best Picture Award recieves no more attention in this article than any other forthcoming movie.  By D. Goldstein

This article previews Rocky two months before its debut in November.  The article details Stallone’s background from the “sleazy sections” of Philadelphia and notes Stallone’s opposition against the “realistic,” cynical movies that dominated the 1970s Vietnam war era.  This article also quotes Stallone saying that an actor needed to look his/her part as much as be able to act it.  By D. Goldstein

This article describes some of the work of John Alvidsen.  It describes his method of directing and his reactions to Times Critic Vincent Camby calling his movie “corny.”  The article also discusses some of Alvidsen’s improvisational skills for working with a limited budget in Rocky.  It seems as if directors working with low budgets could not film according to standard operating procedure, but had to develop techniques as they went along.  By D. Goldstein

This article describes a number of things including:  Audience reception of Rocky as a classic underdog story, Alvidsen’s acceptance speech for Best Director at the 1977 Oscar Awards, comparisons between Stallone and Marlon Brando, to a moderately long biography of Stallone’s life.  Kasindorf’s opinion of Stallone’s acting contrasts with New York Times critic Vincent Camby, showing that Stallone’s acting was well received by some within the critics’ circle.  By D. Goldstein

An ad for the premier of Rocky at Cinema 2 in New York City.  The ad notes only one theater showing Rocky on its opening night.  This could either be due to the fact that other theaters initially didn’t want to carry Rocky because they thought that it would not be a successful film or there simply weren’t many theaters in Manhattan in 1976.  By D. Goldstein

This article is the original Philadelphia Inquirer review of Rocky.  The article praises the film thoroughly.  It interestingly notes that much of Rocky was filmed in the “Fishtown” section of Philadelphia and also that Stallone chose the city for its Bicentennial theme.   The fact that the review comes from a Philadelphia newspaper probably explains why every aspect of the film was praised.  By D. Goldstein

Camby basically writes a negative review of the film Rocky.  Like Ray Elson, Camby points out the anachronistic qualities of the film and calls it “make-believe of the 1930’s.”  For the most part, Camby lambastes Stallone and Weather’s acting and praises Shire’s portrayal of Adrian.  Again, the acting in Rocky wasn’t what made it a success but rather it’s “feel good” message at a time when the country was cynical after Vietnam and Watergate.  By D. Goldstein

Shire talks about her experience playing Adrian in the movie Rocky.  She describes her methods for understanding her character.  Shire also discusses her relationship with her brother, Francis Ford Coppola who thought “women should be at home making babies” and who didn’t want Shire acting in the Godfather movies.  It is interesting to see how women were marginalized in the world of Hollywood even in the 1970s.  The role of the woman, Adrian, in Rocky is pivotal for the success of the male, Rocky Balboa.  By D. Goldstein

Stallone discusses the artistic processes that went into writing Rocky.  Klemesrud also describes the history of the movie from its conception and the debate over who should play Rocky to the details of the script and the choreography of Rocky’s final fight with Apollo Creed.  Klemesrud also reveals Stallone’s adamancy against the protest culture of the post-Vietnam war era.  I’m sure such a popular film as Rocky with an upbeat, optimistic ending would have had effects on films made afterwards.  By D. Goldstein

In this article, Elson categorizes Stallone’s portrayal of Rocky as an anachronistic boxer from the 1930’s or 40’s.  He claims that the fighter’s persona as a slow-talking, dimwitted boxer from the dirty streets of Philadelphia has tainted the ways people perceive boxers.  By D. Goldstein

This article describes how Rocky increased levels of self-pride for Philadelphians.  The article discusses a number of Philadelphia’s problems in the late 1970s.  The article also states that Philadelphians were proud of the example Stallone set for the city when he made Rocky and that he is a symbol of hope for the city.  The photograph of the man jogging the steps at the Art Museum is perhaps a reference to the influence Rocky had on citizens’ awareness for the need to exercise.  By D. Goldstein

 A review of Stallone’s acting in the movie Rocky.  Camby basically states that Stallone’s acting is not up to par with the other actors of his era, saying that Stallone is basically “impersonating” rather than “acting.”  By D. Goldstein

The city is perfect for the working-class look the director is going for and contrasts the beautiful countryside perfectly.  Also, the city is very receptive to the shooting which occurs as Ford’s new Indiana Jones movie opens.  By J. Coplon

Some view the film as exploitation of innocent people while others are upset that the film will attract tourists.  The Mennonites have been in Lancaster for over 300 years and they shun modern conveniences, movies included.  By J. Coplon

The graphic depiction of violence in the 30^th Street Station bathroom is as vivid as Weir’s depiction of the Amish in Lancaster county.  The film features Ford and McGillis who have “one of the sexiest moments on screen in a long time.” By J. Coplon

The film's continued importance to the area is demonstrated. The summers events include a bus tour, a museum exhibit, as well as television commercials which promote tourism and include clips of the movie. The tour and exhibit show off elements of the film and filmmaking process as well as underscore the importance of Amish people to the region while educating visitors about their culture. By J. Coplon

Lancaster County will not likely see another spike in the local economy like the one that the film inspired 20 years ago. The film grossed 65.5 million domestic, reached number 2 in the box-office and garnered national attention for the area. The boom peaked in 1991 and has leveled off since. By J. Coplon

The 3-hour tour is running in coordination with a museum exhibit, in honor of the films 20^th anniversary. The tour is selling out frequently to tourists, demonstrating the economic as well as cultural significance of the film for the area.  By J. Coplon

The DVD’s extras include interviews with the cast, including Viggo Mortensen, who had a significant part in the film.  The one deleted scene was shot in Philadelphia.  By J. Coplon

The piece discusses several locals and their involvement in the making of the film as a lead up to the 20^th anniversary celebration. The article demonstrates the significance of the film for a place that isn’t used to the amenities as well as commotion that the Hollywood-type production brought.  By J. Coplon

Not a particularly flattering review; while the acting and directing is praised, the script is dismissed as predictable and trying to do too much. Ford is given credit in bringing Han Solo to the real world of Philadelphia, which as it turns out, is a pretty gruesome place compared to the more simple life of the Amish in Lancaster county.  By J. Coplon

Grundmann and Sacks have much less good to say about the film. They say some of the story is not genuine, like the relationship between Andrew and Miguel. Among many other criticisms, they also believe the movie is melodramatic and superficial, and does not go far enough to show the real suffering of a man with AIDS.  By J. Wheeling

Drake describes the road to AIDS awareness among the gays of New York City through an outspoken gay writer named Larry Kramer. Kramer helps raise money and awareness for AIDS, and goes from complete failure to resounding success before getting kicked off-board when his mission gets going. This article describes the fear the gays have of fighting an enemy they knew nothing about. In the three-and-a-half months between these articles, the number of people with AIDS jumped from 850 to 1,350, and the number of deaths rose from 300 to over 500. By J. Wheeling

Drake talks about the newly discovered “acquired immune deficiency syndrome”, called AIDS. Like the name indicates, it weakens the immune system so that minor infections that normally only affect the elderly and frail like a cold can kill a person with AIDS. People generally receive symptoms many months after being infected, and have major side effects of extreme fatigue, weight loss, and lesions on the skin. The disease started out in gays, but people later realized it could be spread throughout homosexuals. Little was known about the disease, but doctors suspected it is transmitted through blood transfusions and through sexual activity. 800 people had been positively diagnosed, and of those 300 had died and many more were probably to come. By J. Wheeling

Rothman talks about how the movie is an unprecedented one because it uses over fifty actors who had AIDS during the filming, over 80 percent of which have since died. Even Ron Vawter, a gay actor who played a law firm member on the board against Beckett was positive for the disease. Contains some moving quotes from the later deceased actors.  By  J. Wheeling

Maslin describes the film as “forceful, impassioned and moving” filled with excellent acting, but it is predictable and is a conservative attempt at a movie based on AIDS. It was the first Hollywood movie talking about the disease and tries to educate the general public.  By J. Wheeling

This benefit was held at the Philadelphia Theatre Cinema 19.  It benefited the Chestnut Hill Hospital, and patrons ate a French Picnic lunch in the theater.  By E. Fuld

This film ("1999") is being shown in the Philadelphia area (Willingboro) to the Willingboro School District PTA.  The film is a depiction of what the filmmakers think school will be like in 1999.  It envisions such advances as the image of the teacher appearing on the students wall at home.   It also predicts computers becoming a part of schooling.  The Philco-Ford corp. of Pennsylvania probably made the film to promote their own technologies, upcoming and current.  By E. Fuld

In the article, Valenti (President of Motion Picture Association of America) praises the International Festival of Short films at the Philadelphia Museum of Art October 18 through October 27^th.  By E. Fuld

Sidney Poitier film “the Lost Man” to be shot in Philadelphia.  By E. Fuld

This article discusses films playing at Unconventional movie screening venues in the Philadelphia area.  The Carmel club is an movie venue located on the premises of a church, and specializes in family friendly films.  It will be playing “ David and Lisa” and “Hard day’s Night” among others.  The Pocket Playhouse will be showing the underground film Femomenil. The description of this film makes it sound very much like an art film.  By E. Fuld

Mr. Richard Finochio is a Philadelphia native, and his movie “the Queen” was coming to  Philadelphia area theaters (Yorktown and the Bala and the Castor)   This is a documentary on a 1967 beauty pageant for male transvestites.  (called miss all-american pageant.) By E. Fuld

This article concerns the advent of a computerized ticket sales system by a company called TRS (Ticket Reservation Systems)  This company is selling tickets to sporting events and the theatre with plans to expand into movies in Center City very soon.  The article is about the company beginning operations in the Philadelphia area.  By E. Fuld

This film is playing at the Philadelphia theater “the Lane.”  By E. Fuld

This article discusses movies playing at the Theater of the Living Arts in Philadelphia.  One movie it discusses that is playing there is “Triumph of the Will”  the 1934 Nazi propaganda documentary about Hitler’s rise to power.  This film was under confiscation by the Justice Department right before the Theater of the Living Arts started showing it, so this is the first chance for the public to see this film.  The theater is also showing “Night and Fog,” a documentary about the concentration camps in Nazi Germany, the two films are being screened together.  By E. Fuld

Article talks about film classics being screened at theater of living arts, a Philadelphia area theater;  this includes even some classic silent films such as “the passion of Joan of Arc”.  By E. Fuld

Judy Garland sang as one of  the main attractions at a Philadelphia Music Festival concert on July 20th.  By E. Fuld

Judy Garland made a singing appearance in Philadelphia July 20^th while her husband was in town to appear before a judge for writing bad checks.  By E. Fuld

This movie is playing at the local Philly theater “the Regency”.  By E. Fuld

This movie, "Villa Rides", is playing at the local Philly theater “the Goldman”.  By E. Fuld

This is a local film event showing historical films from many countries at two local Philly area theaters Theater of the living arts and the Band Box film center.  By E. Fuld

This film was playing at the Randolph, a Philly area theater.  By E. Fuld

Shirley Temple Came to speak at Women’s Clubs of Philadelphia; received award.  By E. Fuld

This film ("Where Angels Go, Trouble Follows) was shot largely in Philadelphia, showing the Art Museum, Market St., City Hall, and mainly at St. Mary’s Home for Children, Ambler.  There was an earlier film shot at St. Mary’s in Ambler “The Trouble With Angels,” this movie is a sequel of that one. By E. Fuld

Treasury department admits to seizing film depicting humanitarian mission by Quakers.  The film was shot by quakers, and while it doesn’t say where they are from (it’s a short story) given that they are quakers and it’s in the Philadelphia Inquirer, it’s a good bet that they are from somewhere in the vicinity of Philadelphia. (or at least eastern Pennsylvania).  By E. Fuld

This film, "La Chinoise", is making it’s philly debut at Broad and Pine, screened by the YM/YMHA heroic arts council.  By E. Fuld

This Italian film, "Grand Slam", is playing at the local Philly theater “the Goldman”.  By E. Fuld

This film ("The Power") was playing at the Philly Theater “the Fox.”

These movies (“Charlie Bubbles” and “Will Penny”) just opened at  2 local Philadelphia theatres. By E. Fuld

This movie ("Charlie Bubbles") was playing at the Philadelphia theatre the Lane.  By E. Fuld

This movie ("Half a Sixpence") was playing at the Philadelphia theatre the Midtown.  By E. Fuld

“How to save a marriage (and ruin your life)” is playing at the Philly theater the Regency. By E. Fuld

This film ("Around the World in 80 Days") was playing at the Philly theater  ‘theater 1812’  for the 10^th birthday of the film’s release.  By E. Fuld

This film ("Will Penny") is playing at the Philly theater.  By E. Fuld

This film ("Closely Watched Trains") is playing at 3 local Philly theaters: Yorktown Bala and Cinema 11.

This film ("China Is Near") is playing at the Philly theatre “ Theater 1812”. By E. Fuld

This film ("The Stranger") is playing at the Philly theatre The Trans-Lux.  It is an adaptation of the Camus novel.  Reviews says the indifference to his fate, makes Camus’ character very uncompelling on film. By E. Fuld

Review of "P.J.".  This film is playing at the Philly theatre The Goldman.  By E. Fuld

Film review.  This film is playing at the Philly theatre cinema 19.  By E. Fuld

This movie (Sol Madrid) was playing at the Philly theatre “the regency”.  By E. Fuld

A review of a dark comedy playing at the Lane.  By E. Fuld

This play, directed by Sidney Poitier was playing at the Philadelphia theatre the Locust.  By E. Fuld

This show is appearing on WFIL, a Philadelphia TV station. By E. Fuld

This foreign film is playing at the Philly theatre the Lane. (The name of the column is actually “at the lane”) By E. Fuld

Review of "In Cold Blood". The film is doing its Philadelphia premiere at Cinema 19.  The author portrays its attitude towards violence, and the amount of violence it contains as alarming. By E. Fuld

Talks about the kinds of films that are playing in Philadelphia, both ‘artsy’ and popular.  By E. Fuld

Review of ‘La Guerre Est Finie’.  Discusses the screening of this foreign art film in Philadelphia area and reviews the film discussing its ideology as well as its content.  By E. Fuld

Discusses the shorts that are in “contemporary cinema one.”  This is a limited engagement playing in Philadelphia, that seems to have been released very exclusively.  By E. Fuld

Samuel Shapiro decides to open another movie theatre in downtown Philadelphia, due in part to the success of “The Graduate” at his Rittenhouse Square location.  By E. Fuld

Screening benefits the Child study center of Philadelphia.  By E. Fuld

Film about Montgomery county.  Article concerns shooting at King of Prussia.  The film is being commissioned by Montgomery county as a promotional film to attract business.  By E. Fuld

There was supposed to be an advance screening at Penn (and University of Texas) as part of Columbia’s Cine Cum Laude program, but it was canceled.  Columbia says the movie is still being put together in the lab, and won’t be ready until February 1968, premiered in March.  By E. Fuld

A film starring Sidney Poitier is to be shot in Philadelphia.  By E. Fuld

One of the groups of black filmmakers competing for this grant is a group in Philadelphia.  By E. Fuld

The photo trade show was in Philadelphia. By E. Fuld

Perfect Film Corp bought Philadelphia-based Curtis publishing corporation.  By E. Fuld

Obituary of Harry Kurnitz. Harry Kurnitz grew up in Philadelphia and attended Penn.  By E. Fuld

Ethel Waters is a famous black actor who grew up in the slums of Philadelphia.  By E. Fuld

The 12^th and Oxford gang is a North Philadelphia ghetto street gang, that decided crime didn’t pay well enough and became a company that made films depicting urban life, and bought and revitalized inner-city property. Their film “The Jungle” is a gritty portrayal of life in street gang dominated urban ghettos.  The article starts by talking about the film’s screening in the San Francisco Bay area and explores the complete cultural disconnect between affluent white and urban ghetto cultures.  By E. Fuld

The 12^th and Oxford gang is a North Philadelphia ghetto street gang that decided crime didn’t pay well enough and became a company that made films depicting urban life, and bought and revitalized inner-city property. They are asking Urban America, a charitable organization to benefit ghetto communities, for funding. By E. Fuld

Rosen, Seth. “Adele’s story.” Rev. of The Story of Adele H. Daily Pennsylvanian 4 March 1976: 34^th Street section, 4.

Local, positive review of an artistically complex foreign film in the Daily Pennsylvanian. By A. Carl

Local college student identifies the trend towards aiming movies at his demographic in the Daily Pennsylvanian.  By A. Carl

Philadelphia Inquirer speaks with and about a man who lived through the experiences portrayed in the film Midway, focusing more on the man’s life and reaction to the film than on judging the film as a third party. By A. Carl

Haas, Al. “‘Gus’ gives a kick to gridiron fantasy.” Rev. of Gus. Phildelphia Inquirer 8 July 1976:  6-C.

Short, sarcastic review in the Philadelphia Inquirer of the then-most-recent predictable and contrived Disney movie.  By A. Carl

The Philadelphia Inquirer’s piece on the Bicentennial explores the way experts and professionals in various fields feel culture has been moving. Manchester identifies the increasing targeting of films to certain demographics, a trend which did in fact continue over time.  By A. Carl

“Films.” Philadelphia Inquirer 9 Jan 1976: 2-D.

The Philadelphia Inquirer ran these bulk capsule reviews, only several sentences apiece, almost exclusively at this time as their sole coverage of new movies (barring big event/blockbuster films). 

Film Titles: Hustle, The Mysterious Monsters, King of Hearts, Notorious, Hurricane, Alexander’s Ragtime Band, Union Pacific, Phantom of Liberty, The Discreet Charm of the Bourgeoisie, The Nun, King Lear, La Guerre est Finie, The Black Bird, The Philadelphia Filmakers Co-Op, Love of Life, Friday Foster, Les Enfants Terribles, Los Olvidados, Queen Christina. By A. Carl

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Review of “Kitty Foyle” following its world premiere at the Boyd Theatre in Philadelphia.  The film takes place in Philadelphia, and filmgoers “heard their city berated as the only place in the world where one of those right and wrong side of the railroad tracks romances can never, never flourish.  Poor Philadelphia, with its overdose of tradition, class consciousness, snobbery, and trust estates.”  By T. Duprey 

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Review of film featuring Philadelphian actors Jeanette MacDonald and Nelson Eddy, who were extremely popular among their fellow Philadelphians.  By T. Duprey

Philadelphia inquirer public ledger [microform].
Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Pennsylvania Board of Censors ordered a portion of the so-called German propaganda film “The Ramparts We Watch” depicting the slaughter of Poland by the Germans to be cut from the film.  Director and producer Louis De Rochemont complained in Philadelphia.  By T. Duprey

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Positive review of “Our Town.” References to its “camera witchery” and “heroic philosophy.”  Describes the film as “moving, heart-warming, heart-breaking.”  By T. Duprey

Philadelphia inquirer public ledger [microform].
Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Informs the Philadelphia public of the casting of Ruth Hussey in the upcoming “The Philadelphia Story.”  By T. Duprey

Philadelphia inquirer public ledger [microform].
Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Philadelphia inquirer public ledger [microform].
Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Reviews “Pinocchio” after its popular opening at the Stanley Theatre. Praises the film for its “cockeyed, tongue in cheek sophistication,” “invention,” “charm,” “wit,” and “all-embracing good humor.” By T. Duprey

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Previews the opening of “Pinocchio” at the Stanley.  Philadelphia filmgoers, such as the “five year-old damsel of West Philadelphia who publicly and loudly addresses her father as ‘Jiminy Cricket!,” have been “impatiently awaiting” Pinocchio’s arrival.  By T. Duprey

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Positive Review of “The Grapes of Wrath.” Praises John Ford for “surpassing anything he has ever done with direction that is an amazing example of restrained fury and compassion.”  By T. Duprey

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Positive review of “Vigil in the Night” after its World Premiere at the Aldine Theatre.  Praises the film as “courageous,” “stark,” and “uncompromising.”  By T. Duprey

Philadelphia inquirer public ledger [microform]. Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Describes the opening night of “Gone With the Wind” at the Boyd theatre in Philadelphia.  By T. Duprey

Philadelphia inquirer public ledger [microform].
Philadelphia, Pa. : Philadelphia Inquirer Co., 1934-1969.
Call#: Microfilm news 61

Praises “Gone With the Wind” the day after its extremely successful debut in Philadelphia.  Praises the film for its “gorgeous color, camera wizardry, a fine script, intelligent direction, a dozen or so inspired performances.”  By T. Duprey

Current and historical information on the Cannes International Film Festival, in particular with relation to American cinema. Two Philadelphian films, Witness and Birdy, take part in the 1985 Cannes International Film Festival.  By N. Dlugash

Janet E. Lorenz, “Witness”, Magill’s Cinema Annual, 1986

Plot synopsis, comparison between Amish culture and mainstream culture, list of reviews.  By N. Dlugash

Favorable review of screenplay’s juxtaposition of Amish and modern, urban culture, description of Amish life as depicted in Witness.  By N. Dlugash

Social and ethical implications of depicting Amish life, negative response by the Amish to Witness.  By N. Dlugash

Newsweek [microform]. [0028-9604 ] [Livingston, N.J., etc., Newsweek, inc., etc.]
Call#: Microfilm cont 388

Favorable review of Birdy, describing it as taking “a lot of chances”.  Describes working-class, South Philadelphia as unlikely setting.  By N. Dlugash

Newsweek [microform]. [0028-9604 ] [Livingston, N.J., etc., Newsweek, inc., etc.]
Call#: Microfilm cont 388

Favorable review of director and actors.  By N. Dlugash

Two experts on Amish culture, Merle Good and John A. Hostetler, argue about the pros and cons of Weir’s depiction of the Amish.  By N. Dlugash

Comparison of two cultures, unsuccessful romantic subplot. Negative depiction of Philadelphia as “Hell on Earth”, used to contrast Amish countryside. By N. Dlugash

Favorable opinion of Philadelphia as a filming location, with quotations from producer Edward Feldman and location manager Mike Meehan. By N. Dlugash

Depiction of Amish farm life in Pennsylvania Dutch country.  By N. Dlugash

Director Alan Parker recounts difficulties in filming in Philadelphia, discusses subjects of madness and Vietnam in Birdy, compared to other films.  By N. Dlugash

Director Alan Parker compares Philadelphia with his own working-class neighborhood in London, describes Philadelphia as the “heart of this story”.  By N. Dlugash

Summary of Birdy.  By N. Dlugash

Favorable review of Birdy, citing it as director Alan Parker’s “personal best”.   By N. Dlugash

Temple film students Keith Fulton and Lou Pepe were asked by director Terry Gilliam to make a short documentary of the making of the film to be used for promotion.  They describe the difficulties in working on the set of a major film and compiling a 10 minute sample of their footage.  By L. Pardue

Toni Cade Bambara, a black female filmmaker, dies in Philadelphia.  She had taught screenwriting for 10 years at the SCRIBE Video Center, mentoring several black female filmmakers.   She made several documentaries which frequently dealt with stereotypes of blacks and often wrote and gave presentations about film.  By L. Pardue

The Greater Philadelphia Film Office actively solicited the producers of Money Train to film in Philadelphia, despite the controversial depiction of the firebombing of a New York tollbooth.  Executive director Sharon Pinkenson and her counterparts across the country explain that a film’s content is irrelevant in recruiting filmmakers to their cities.  By L. Pardue

The premier of Two Bits takes place in Philadelphia.  Two Bits gives the city a positive image.  The film contributed approximately $2 million to the local economy.  By L. Pardue

Holden enjoys Two Bits but criticizes it for being too subdued and nostalgic of the good ol’ days.  He writes that the film paints an overly wholesome picture of the Depression.  By L. Pardue

Sameric Corp., which sold the Boyd Theater in 1988, claims that the fight over the status of theater as a historical structure forced it to sell the building for less than fair market value.  Courts have upheld the law allowing the designation of buildings as historical structures but have rejected the Boyd Theater’s designation as such.  The new owners of the building intend to convert it into stores.  By L. Pardue

Barnes writes about the increase in films dealing with homosexuality.  Philadelphia is an example of the upsurge in major gay and lesbian characters in film; meanwhile mainstream culture experiences a new acceptance of homosexuality as well as a sharp backlash against it.  By L. Pardue

The Philadelphia International Film Festival begins with a screening by Luis Bunuel and continuing with screenings of other films by Hispanic directors.  The emphasis of the festival shifts more towards feature films than shorts.  By L. Pardue

While Philadelphia has been the setting for several contemporary films, Two Plus One gives a more personal perspective of the city. Director Eugene Martin, a Philadelphia native, demonstrates a familiarity to the city that locals will appreciate. By L. Pardue

While Philadelphia has been the setting for several contemporary films, Two Plus One gives a more personal perspective of the city.  Director Eugene Martin, a Philadelphia native, demonstrates a familiarity to the city that locals will appreciate.  By L. Pardue

Rickey approves of Martin’s use of Philadelphia landmarks and his new ideas in the representation of recent college graduates and their relationships.  By L. Pardue

This documentary harshly examines the life of a comic book illustrator from Philadelphia.  The film shows the way in which Crumb’s persona was developed through his childhood and family. By L. Pardue

The Dixie Hummingbirds are depicted in We Love You Like a Rock as the preeminent gospel group.  The documentary includes interviews with Stevie Wonder, Paul Simmons, Bobby Womack, and other figures in the music industry praising the Dixie Hummingbirds for their influence on gospel music and African-American music.  The documentary is screened at the Philadelphia Festival of World Cinema.  By L. Pardue

United Artists, the current owner of the Boyd Theater, AKA Sameric 4, are in the process of selling the theater to real estate investors despite efforts to preserve it as a historical structure. By L. Pardue

A Walk of Fame for African-Americans in film, television, and theater is inaugurated outside of the Bushfire Theater for Performing Arts.  Director Lloyd Richards and actor John Amos make handprints in the sidewalk.  Deceased performers Paul Robeson, Ira Aldridge, and Dorothy Dandridge as well as theater technician William B. Dickerson will be honored with plaques placed on the pavement.  This event is the first Walk of Fame for blacks in the United States.  By L. Pardue

Inmates at Holmesburg Prison were used as extras in filming a riot in Up Close and Personal.  They reflect on new-found knowledge of film production and relate to Philadelphia native Glenn Plummer (who plays a supporting role in the film).  By L. Pardue

Holmesburg Prison is considered outdated by Philadelphians, but according to film advisor Bob Vazquez, it is deal for prison scenes in movies.  Holmesburg Prison as well as East State Penitentiary are big draws for movie-makers to film such scenes in Philadelphia.  By L. Pardue

Cipriano interviews Van Blunk and Rosanio about their 15-minute documentary on six synagogues in south Philadelphia, only one of which was active at the time the film was shot.  The film examines the growth and decline of the Jewish population in south Philadelphia and the corresponding closures of synagogues and Jewish businesses. By L. Pardue

12 Monkeys completes filming in Philadelphia after employing about 900 locals and pumping $12 million into the economy.  Sites used for filming included the Convention Center, Eastern State Penitentiary, Franklin Field, Memorial Hall, and the Richmond Power Station.  Many Philadelphians had hoped for sightings of stars Brad Pitt and Bruce Willis.  The filming of 12 Monkeys in Philadelphia is representative of a surge in Philadelphia movie-making that has attracted several well-known film professionals to the area.  By L. Pardue

The ninth annual Philadelphia Weekend Film Festival features a presentation by director Alan Rudolph and screenings of both mainstream and alternative films.  Attendees welcome the festival as a space for discussion of film and as a social gala.  By L. Pardue

Rickey interviews the director and cast members of 12 Monkeys as filming begins.  Philadelphia was appealing as a filming site due to the combination of preservation and decay in its unique architecture.  By L. Pardue

Mo Wax, who published Film Bulletin, an independent film journal, and owned a local independent theater, died recently.  Klauber describes Wax as a mentor to local film journalists and filmmakers who supported independent filmmaking.  By L. Pardue

In Philadelphia many of the extras had AIDS or were HIV-positive and were recruited from Action AIDS Philadelphia.  Since the film’s release, 43 out of these 53 extras have died.  Jonathan Demme purposely set out to use AIDS patients in the film, which caused some apprehension with other members of the crew.  By L. Pardue

This is an article written at the end of 1985, the year of the bombing. It is a reflection on the events of that day and it highlights the changes that the city has gone through since that day in May. It lays out plans that are being implemented to ensure the safety of the citizens of Philadelphia and what actions have already taken place to secure the city. By A. Wilkins

This is the story of how the film Bombing of Osage Avenue was made. It is the history behind the director and how and why he got the footage that he did. Louis Massiah was born in Philadelphia and still lives there and he is a strong presence in the film community of the city.  By A. Wilkins

The city of Philadelphia is being sued by a survivor of the bombing. It examines the MOVE bombing as an example of police misconduct and law enforcement gone wrong. There is a possibility of a payout if the plaintiff wins.  By A. Wilkins

The movie is about rap music and has many different performers in it. The plot line is second to the music. By E. Denstedt

The movie is about rap music and has many different performers in it. The plot line is second to the music. By E. Denstedt

This article is about how popular this film is in the local Philadelphia area and how people are being turned away from the theaters. By E. Denstedt

Ishmael Reed is doing a lecture at Temple University and he criticizes the movie “Color Purple”. He feels that there is a negative depiction of black men. By E. Denstedt

This movie was one of the first to change that way blacks were portrayed on film. It was nominated for 11 Oscars, a first for a predominantly black film.  By E. Denstedt

It’s not clear if it is a group in Philadelphia or a national group but this film wins awards for how it portrays blacks so it is an interesting take on the film. By E. Denstedt

This movie was one of the first to change that way blacks were portrayed on film. It was nominated for 11 Oscars, a first for a predominantly black film. The article is about what Spielberg was thinking during the making of the film. This film was of the most popular films during this year.  By E. Denstedt

Changing the criteria for ratings, something that would affect who sees movies in Philadelphia.  By E. Denstedt

A film about gays and lesbians, a controversial topic during that time period. It is a movie review for the citizens of Philadelphia.  By E. Denstedt

A controversial movie about a black woman that becomes very popular with audiences even though the budget was incredibly small. It played at the Ritz in Philadelphia. By E. Denstedt

A controversial movie about a black woman that is opening in Philadelphia.  By E. Denstedt

Philadelphia has significant African-American population and this award is given to recognize the positive image of blacks in the entertainment world.  By E. Denstedt

This film was filmed in Doylestown, a suburb of Philadelphia. It is a look at an alternate treatment for psychotic outbursts in which the patients live under the supervision of families. The film highlights the Delaware Valley Mental Health Foundation, an important Philadelphia institution. In his review, Roger Greenspun talks about the controversial methods of treatment being practiced as well as their effects. He calls the Cinéma-Vérité style film tactful, although, he says as a movie the subject matter is not as interesting as it is in its own right. By S. Stein

The train scene in the film was shot in Lancaster Pennsylvania, a suburb of Philadelphia.  Canby’s review focuses on Streisand’s performance and her position of power within Hollywood at the time.  He does not like the film, but loves Streisand in the film.  He praises the set and says that there are some “nice” songs as well as gives good review of Matthau’s performance.  However, the film fails according to Canby, even though it is the most expensive musical ever made.  By S. Stein

Part of this film was filmed in Allentown, a suburb of Philadelphia.  Vincent Casby writes a review of this sequel to “The Trouble with Angels” and its focus of anticlerical fantasies placed into a Columbia Pictures Comedy.  The slapstick and mass-appealing film puts nuns and students from a Philadelphia Girls Parochial School on a bus to California.  The film addresses issues of religion and propriety.  Vincent relates the film to the broad appeal of “other fantasies about nuns who fly and sing.”   By S. Stein

Parts of this film were shot in Philadelphia.  Also, Louis W. Kellman Productions was the studio used in Philadelphia.  There were also scenes shot on-location in the suburbs.  The film is the story of an African-American Jazz musician and his white mistress.  It addresses racial issues and in his review, Crowther says Gregory’s character comes off as angry throughout the film despite his respected position as a saxophone player.  According to Crowther the film is weak because of the lack of actual reason (evidence beyond racial assumptions) for Gregory’s anger.  It does, however, highlight racial issues of the time.  By S. Stein

Part of this film was filmed in Ambler Pennsylvania, a suburb of Philadelphia.  This is the story of a Catholic girls reform school looking to churn out nuns.  The film pits an unruly student against the calm and accepting Mother Superior.  Crowther calls the film “icky” and says the acting that portrays the nuns is done in poor taste.  He leaves it at a “hit or miss contrivance.”  By S. Stein

Both an extremely positive review and an article detailing the various obstacles to production for David and Lisa, the “small-budget triumph.”  One of the more interesting revelations in the article is that $100,000 of the $200,000 budget came from a Philadelphian industrial-movie producer who wanted the script changed to be more “sexual.”  By A. Migdail

An early review of David and Lisa, made in Philadelphia, from the New York Times (the film was released in New York before its wide release.)  Crowther seems to praise the acting in the film while being wary of the direction.  The article seems to be missing a piece at the end.  By A. Migdail

A review from January 5 issue of The New Republic Magazine.  Evidence of David and Lisa’s national critical acclaim as the best of the “low-budget independent production[s].”  By A. Migdail

An article from the Philadelphia Inquirer listing the winners of the 1963 Academy Awards.  David and Lisa was nominated for two Oscars (for best director and best adapted screenplay) but lost in the director category to David Lean’s Lawrence of Arabia and in the adapted screenplay category to To Kill A Mockingbird.  By A. Migdail

Demonstrates the fact that Philadelphia was, to some extent, on the cinematic cutting-edge during the 1960’s.  Of course, the bulk of the movies advertised in the Inquirer seem to be the standard big-budget Hollywood fare, but there were also theaters, like the Bryn Mawr, that were up-to-speed on world cinema movements.  The fact that this article was included in the “Amusements and the Arts” section is proof that there was interested in this type of film in Philadelphia.  By A. Migdail

This review of “Fun in Acapulco” starring Elvis is a perfect reminder that it wasn’t all—or even mostly—art-house movies that played in Philadelphia in 1963 (notice, however, the advertisement for Fellini’s 8 ½ in the lower right-hand corner of the review.)  It is also a clue as to the character of the Randolph theater, as opposed to, for instance, the Boyd (which was playing exclusively “Cinerama”-type blockbusters at the time) or the Bryn Mawr Theater, which tended to show artsier, foreign films.  By A. Migdail

It’s A Mad, Mad, Mad, Mad World was the first movie to play at the Boyd Theater after the removal of the three-lens Cinerama system and its replacement by the single-lens 70mm Cinerama system.  This change is mentioned at the end of the article under the heading “New Technique.”  By A. Migdail

This is an article from the Philadelphia Inquirer briefly reviewing the films playing at each of the major Philadelphia theaters during the Christmas season, from “It’s a Mad, Mad, Mad, Mad World” at the Boyd to “Kings of the Sun” at the Goldman.  It is interesting to note that, in 1963, theaters made a somewhat long-term commitment to an individual movie (whereas today, most theaters play more than one film) so that the theaters in the article are often listed before the film that is playing.  By A. Migdail

This is a list of the Philadelphia Inquirer’s top ten movies of 1963.  It includes David and Lisa, shot in Philadelphia, in the “heart-interest” category, placing it alongside such classics as Lilies of the Field, To Kill a Mockingbird, The Great Escape, Long Day’s Journey into Night and Fellini’s 8 ½.  By A. Migdail

David and Lisa is a film that was made in Philadelphia in 1962 for $20,000 (see also: Philadelphia Inquirer-“Prize Film Uses Philadelphia Locale) and was nominated for 2 Academy Awards.  This is a review of the film from The Nation magazine, suggesting that the film confusingly “straddle[s] fiction and documentation.”  By A. Migdail

See also:
Stein, Herb and Louella Parsons.  Best of Hollywood. Philadelphia Inquirer, 12 Jan. 1963: 6
Parsons, Louella and Joe Hyams. Best of Hollywood. Philaelphia Inquirer, 8 Jan. 1963: 10

The “best of hollywood” column was a staple in the Philadelphia Inquirer in 1963, usually running a few times each week.  Herb Stein and Louella Parsons were two of the more regular contributors, though there were others, including Joe Hyams.  These three columns are fairly typical: Gossip ranging from on-set news to off-set disputes to Marlon Brando attending his first movie premiere (not in Philadelphia, sadly.)  These columns represent a fair portion of the film news that Philadelphia newspaper readers (at least, readers of the Inquirer) received in 1963—actual film reviews were more rare.  By A. Migdail

This is an interesting piece of Goldman’s life because he donates a Nickelodeon to the Franklin Institute, (one of the last of its kind and in mint condition), and they lose the thing.  This article is simply about his gift, but this is obviously half of the story.  By W. Wright

This article deals with Goldman’s expansion of his movie theatre chain.  He moves his business from a small out of the way theater to a small empire of the last picture palaces in Philadelphia.  The buying and gutting of this old establishment becomes representative of the new way of making movie theaters.  Though Keithe’s theater is still considered a picture palace, it is a new age palace and much different than its predecessors.  Goldman makes this venue into a state of the art theater for the next generation of film goers.  By W. Wright

The eventual settlement from Goldman’s initial suit against Loews.  This sum of money is awarded to Goldman after an Appeals court decrees Loews is acting as a monopoly and not fairly allowing Goldman to compete.  By W. Wright

This is another case which follows William Goldman’s initial suit against Loews.  It is simply another step towards the diminishing of the Hollywood  Studio system’s power.  By W. Wright

This is the decision in 1945 that starts to end the Hollywood studio system.  It pretty much states that Philadelphia producers can dictate which films can have first runs without incurring the wrath of a major studio.  It leads to the emergence of more independent cinema theaters and also the inadvertent end of the picture palace.  By W. Wright

This is an article that talks about Goldman’s case being overturned in federal appeals court.  It leads to a lesser settlement and does not deter Goldman’s fight against the studio’s monopoly.  By W. Wright

In LexisNexis, click "Get a Case" and search for case 19 T.C. 637

United States. U.S. Tax Court. William Goldman Theatres, Inc. v. Commissionner of Internal Revenue. 19 T.C. 637; 1953 U.S. Tax Ct. Lexis 262.

This is a federal court case (the case was never granted a writ of certiorari from the Supreme Court) about the settlement of William Goldman Theater Co. against Loews. This case talks about the money Goldman won after suing Loews under the Sherman Anti-trust act. The original case has to deal with the incurred loss of Goldman’s theaters because of an unfair monopoly practices under the vertically integrated studio system. Goldman was originally awarded $1.35 million for loss and damages, but after another appeal, a district court awarded him $125,000, plus $375,000 in punitive damages. By 1953, the case was already over seven years old, but it was not simply a case fighting large studios, it was a case that allowed for a local area theater owner to gain some control over distribution and exhibition with Philadelphia. This decision leads to Goldman opening a successful chain of movie theaters, which he owns and operates for over another twenty years. By W. Wright

In LexisNexis, click "Get a Case" and search for case 253 Pa. 422

In The Matter of The Franklin Film Manufacturing Corporation
No.66
Supreme Court of Pennsylvania
253 Pa. 422; 98 A. 623; 1916 Pa. LEXIS 862
March 24, 1916, Argued April 17, 1916

PA State Board of Censors appeals to have a lower court’s reversal of Board’s decision to eliminate certain portions of “Virtue”, mentions Act of 15, May 1915 P.L. 534 that established Board of Censors and guidelines for censorship.

In trying to get Virtue approved to be shown in Philadelphia, the State Board of Censors wanted to remove several portions of the film. Franklin Film appealed to the Court of Common Pleas of Philadelphia, which reversed the censors. The Board then appealed to the state Supreme Court, which decided that, because the Board of Censors did not act arbitrarily, the portions should be removed. By D. Verbofsky

In LexisNexis, click "Get a Case" and search for case 265 Pa. 335

In The Matter of the Goldwyn Distributing Corporation
No. 19
Supreme Court of Pennsylvania
265 Pa. 335; 108 A. 816; 1919 Pa. LEXIS 552
May 20, 1919, Argued June 21, 1919

PA State Board of Censors appeals to have a lower court’s reversal of Board’s decision to eliminate certain portions of “The Brand”, mentions Act of 15, May 1915 P.L. 534 that established Board of Censors and guidelines for censorship. Goldwyn appealed to the Common Pleas Court of Philadelphia because the State Board of Censors to not approve the film “The Brand” for release in Philadelphia, saying that the film was moral and that the Censors were guilty of “arbitrary and oppressive abuse of discretion”. The Philadelphia court approved the film, so the Board of Censors appealed to the state Supreme Court. The PA Supreme court reversed the order, deferring to the initial decision of the Board, causing the film to not be approved. By D. Verbofsky

This essay explores the relationship of workers to the Hollywood system. It examines the role of film as a medium for social change and provocation—an important tool for marginalized figures of society. It outlines the crucial ways film influences the way people understand the world. It is most important, in fact, when dealing with issues about which people know very little. This argument substantiates Herbert J. Biberman’s own ideals about the necessity of film and proves the relevance of his efforts at self-expression and the articulation of a marginalized group.   By I. Cowles

This essay explores the 1947 House Committee on Un-American Activities persecution of a number of Hollywood figures—those suspected of Communist affiliations. The essay outlines the process through which the HUAC “hearings” produced a blacklist and ultimately gave rise to the imprisonment of the ‘Hollywood Ten,’ among whom was Herbert J. Biberman. The essay, however, casts a critical light on many of the members of the Hollywood Ten, arguing that many of them were, indeed, ultimately willing to compromise their political beliefs. He gives an un-traditional account of the HUAC hearings and those alleged Communists it pursued. Indeed, Eckstein ultimately writes this of the Hollywood Ten, “Martyrs, they are—but they are not innocent martyrs.” (433)By I. Cowles

This article, which begins by outlining Biberman’s persecution by HUAC and the Hollywood historical context which inspired the making of the film, criticizes “Salt of the Earth” for not referencing the industry more—it avoids popular culture references, which, Klawans believes weakens the argument of the film. By I. Cowles

An account of the Mexican mines’ situation and the response by Biberman and his filmmaking team. This article outlines the making of “Salt of the Earth,” as it outlines the perseverance of those involved in the filmmaking process. It explores the extremes Biberman and Jerrico went to in order to make and distribute their film, whose making, ultimately, could not be suppressed by the ethically dubious political agenda of Hollywood during the McCarthy era. By I. Cowles

The article’s author, A.H. Weiler interview’s Biberman who comments on the social relevance of the film after the publication of his personal account of the filmmaking process, which appears in his book Salt of the Earth: the Story of a Film, a documentation of the ideological and pragmatic elements of the development of “Salt of the Earth”. By I. Cowles

New York Times article reviewing the film in 1954. Recognizes “Salt of the Earth” as little more than a portrayal of the Mexican miners and their straightforward revolt: it does not delve much more deeply into the theme of Biberman, Jerrico and Wilson’s need for self-expression in the face of the HUAC hearings (though the article does briefly mention the controversy). The film also recognizes the feminist undertones of the film. The article lauds “Salt of the Earth” as a well-made, “special interest film.” By I. Cowles

This article documents the presentation by the College of Santa Fe in March 2003 of the “Salt of the Earth” conference. It explains the significance of the film in a social and historical context with respect to the racial injustices it outlined as a parallel to the displays of racial intolerance of the McCarthy era. The article explores Biberman’s account of the making of “Salt of the Earth” as it appeared in his book titled as such. Ceplair also examines the film “One of the Hollywood Ten” as it relates to Biberman’s personal relationship to the historical context of the making of “Salt of the Earth”. By I. Cowles

Actress Marsh Hunt visits Philadelphia to celebrate the Silver Jubilee for Adolph Sukor, head of Paramount Pictures. By Alexis Tryon

Devil on Horseback opens at Karlton Theater and confuses critics with new use of “Hirlicolor” instead of Technicolor. Distracts audience from events of film itself. By Alexis Tryon

Motion Picture Review of Rose Marie, Sat. 1 Feb.1936. Rose Marie opened in Philadelphia to bursts of applause that could be heard outside at the Boyd Theater at 19^th and Chestnut. Philadelphia considers Nelson Eddy and Jeannette MacDonald to be “two stars it considers its own special contribution” to cinema. By Alexis Tryon

Absolute Quiet opened in Philadelphia at the Earle Theater to mixed, almost negative reviews. The screening was rescued, though by the accompanying by stage performance of Betty Grable, Jack Powell, and Jackie Coogran which included singing and tap-dancing. By Alexis Tryon

Review of the film “Delicious” at the Fox Theatre.

The review discusses how the story line is a typical “Cinderella story” about a poor girl achieving love and happiness. The ideas of people moving between the worlds of wealth and poverty, and people from humble means achieving great things were related to social issue films and represented an idealism that was soothing for film-goers during the Depression. By Uri Friedman

Motion picture review of Lady Be Careful, a Paramount picture, at the Earle Theater. This review is most interesting for the surrounding articles. Instead of a page primarily dedicated to film news, this review has “Be Beautiful”, a woman’s interest column, and “Points for Parents”, a cartoon for parents, surrounding it. Film is no longer receiving the same amount of attention it was earlier in the year. By Alexis Tryon

Motion Picture Review of Star for a Night, opened at the Earle Theater.  The new headings of film reviews “Camera Angles on Film Folk” takes a approach much more akin to summarizing than reviewing new films, commenting on the plot and stars personal lives.  These types of articles have replaced earlier critical reviews.   By Alexis Tryon

Popular interest piece on June Lang, “20^th Century-Fox Film movie actress” who has “the modernistic figure”. She is being sculpted by Albert Stewart for a peace memorial of the War Bride.  By Alexis Tryon

MGM’s film We Went to College opened at Karlton Theater. This review is significant for its clearly negative opinion of the film. Most reviews of this time are strictly positive, so this is a significant exception.  By Alexis Tryon

“Be Kind to Faces Week” - Recommends that young women give their face a week off from makeup every year, as well as their hair when possible. By Alexis Tryon

Review of Freshman Love, which opened at the Earle on 17 Jan. 1936.  Freshman Love premieres in Philadelphia's Earle Theater on January 17^th, 1936. It is reviewed as “absolutely amusing”, as is the intricate stage act that joins it. By Alexis Tryon

Motion picture review of Fury, opened at Stanley 13 June 1936.  Fritz Lang’s first American picture, Fury, is released in Philadelphia.  Commentary on Lang’s ideas about the need for films to reduce the about of talk involved.   By Alexis Tryon

Motion picture review of The Singing Kid.  Al Jolson visits the Stanley Theater in Philadelphia for the premiere of his new film The Singing Kid. Jolson fans crowd the theater to see the star. Earlier that day Jolson arrived at Broad Street Station and enjoyed a parade in his honor.  By Alexis Tryon

The Country Doctor opened in Philadelphia on Friday, March 6^th, 1936 to rave reviews at the Fox Theater. Crowds “thronged” the theater to see the quintuplets. Film screening was accompanied by stage performance by Edgar Bergen and company’s skit “The City Doctor” and other acts.  By Alexis Tryon

Review of new Bette Davis picture, Dangerous, which opened at the Boyd on January 10^th, 1936 to strong reviews. By Alexis Tryon

An article published in the Philadelphia Public Ledger that interviews Bela Lugosi. He reveals that he hated his on screen role of Dracula since he had also played the character in the stage version that preceded the film version.  By Conor Fitzpatrick

An article published in the Philadelphia Public Ledger that lists the Top Ten Films of 1931 as voted on by Philadelphians. Frankenstein is given an honorable mention award with 48 votes.  By Conor Fitzpatrick

The article details the author’s opinions on several films he does not consider “art.” Also, the author includes more realistic/psychological horror films such as Fritz Lang’s M that he believe to me more shocking/scary than fantastical horror films.  By Conor Fitzpatrick

The article details how many of the special effects/creatures were created for King Kong.  By Conor Fitzpatrick

The article details an author’s reading of the poorly received and widely rejected horror film, Freaks. Also, the article reveals that Freaks was shown in a North Broad St. theater, which did not advertise in the Inquirer. This seems to suggest that Freaks was not exhibited at any mainstream theaters in Philadelphia (It was shown in New York, San Diego, and other major cities where it was severely rejected). It also describes several other horror films such as Island of Lost Souls.  By Conor Fitzpatrick

The article details how Wills O’Brien created certain special effects/creatures featured in King Kong. By Conor Fitzpatrick

Example of a film review of Dracula that was circulated throughout Philadelphia as it was placed in the city’s premiere newspaper, the Philadelphia Inquirer. It must be noted that this article is contained within the “What’s Playing in the Theaters This Week” section and the article is best described as a hybrid of a film review and an advertisement. With that said, the title of the article, “STANLEY,” refers to the movie theater located on 19^th and Market in which the movie was exhibited. By Conor Fitzpatrick

An interview with Dracula and Murders in the Rue Morgue star, Bela Lugosi. While the article details Lugosi’s career, more important is Lugosi’s comments that not only do women love horror films, but Hollywood produces such films because women love them. These comments support the notion that women may have strongly attended horror films in Philadelphia and that advertising of such films was directed towards them. By Conor Fitzpatrick

An article published in the Philadelphia Inquirer that briefly describes Karloff’s growing popularity and how he is the next “Lon Chaney.” By Conor Fitzpatrick

An article published in the Philadelphia Inquirer that details how the filmmakers decided on and created the look of the Frankenstein make-up/costume.  By Conor Fitzpatrick

An article published in the Philadelphia Inquirer that explores whether producer Carl Laemmle’s “no children, unless accompanied adult warning” issued for Frankenstein was an elaborate publicity stunt or a genuine advisory note.  By Conor Fitzpatrick

This article from the NY Times rips into the Pennsylvania State Board of Censors. It provides an outside view of the censorship to which films shown in Philadelphia were subject.  By D. Verbofsky

PA Board of Censors bans films that glorify crime. This blurb in the NY Times gives a view to an instance of large scale film banning in Pennsylvania/Philadelphia, perpetrated by the State Board of Censors.  By D. Verbofsky

PA State Board of Censors considers banning films with Mabel Normand and Edna Purviance, due to a scandal surrounding an alleged shooting by their body guard. This news brief in the Philadelphia Inquirer indicates the watchful eye the public had towards the Board of Censors. Philadelphians must have been wondering what actions the Censors would take towards a controversy involving these actresses. In this instance, board went the way that the NY State Motion Picture Commission went, taking no action to bar films by these two actresses. By D. Verbofsky

PA State Board of Censors bans crime movies and prize fight films. This blurb in the NY Times gives a view to an instance of large scale film banning in Pennsylvania/Philadelphia, perpetrated by the State Board of Censors.  By D. Verbofsky

Samuel Goldwyn, of Goldwyn Distributing, submits to the NY Times examples of what the Pennsylvania State Board of Censors is doing to his films. Examples are illustrative of types of changes being made by Censors, and what kind of material they objected to being shown in Pennsylvania/Philadelphia. By D. Verbofsky

A still image of the film, Dracula, that appears in the “What’s Playing in the Theaters This Week” section of the Philadelphia Inquirer. By Conor Fitzpatrick

Hollywood gossip column describing the economic difficulties of Hollywood stars.

The opening of the column describes in a unique way how Hollywood stars have to be much more careful about their money during this period of economic hardship. Another example of how the Depression affected the Hollywood film industry. By Uri Friedman

Review of the film “Possessed” at the Arcadia Theatre.

The review discusses the plot of the film, which revolves around a poor girl’s struggle to overcome her environment. The ideas of people moving between the worlds of wealth and poverty, and people from humble means achieving great things were related to social issue films and represented an idealism that was soothing for film-goers during the Depression. By Uri Friedman

Review of entertainment program at the Mastbaum Theatre.

The review discusses how the Mastbaum is having screen and stage stars appear at the theater to do a variety of acts as part of its re-opening. This article reflects the fact that a number of Philadelphia theaters had to close (sometimes reopening, like the Mastbaum) during the Depression and how theaters had to offer incentives other than simply a film to get people to spend their money on entertainment.  By Uri Friedman

Short article about special effects in “Lottery Bride” at the Earle Theatre.

The article discusses how the bridge and groom are superimposed in front of clouds with “magnificent” Technicolor. This is emblematic of the technological achievements of the film industry during the Depression-era. By Uri Friedman

This column discusses how the economic issues in Hollywood caused by the Depression have made Hollywood stars intent on finding ways to preserve their wealth. He describes in vivid terms how the Depression has ravaged the glamorous film industry.  By Uri Friedman

Review of the film “Inspiration” at the Mastbaum Theatre.

The review discusses the splendor of Greta Garbo’s persona and of the scenes. Though there were lavish film sets and goddess-like portrayals of female actresses before the Depression, this type of film is emblematic of the “escapist” films often seen during the Depression’s difficult times.  By Uri Friedman

Broadway critic’s musings about how the entertainment industry will handle the sudden Wall Street economic crash.

This column expresses the writer’s worry that the stock market crashes, which had occurred only days before the column was printed, would have negative effects on theater attendance, exhibition, and production. He explains how in times of economic crisis, luxuries are often the first to be disregarded, even if they would help people escape their economic misery. By Uri Friedman

Article advertising the newest Inquirer-Universal Newsreel.

The Inquirer often showed newsreels in a number of local theaters that showed interesting footage from around the world. In this article, the writer uses Depression-era terminology to explain a sequence about ducks, and also mentions that the newsreel includes images from an employment program in Massachusetts. This can be contrasted with articles about Inquirer newsreels in 1929, which discussed images such as skyscrapers and turtle races. The impact of the Depression on film can be noted here. By Uri Friedman

Review of the film “Love, Live and Laugh” at the Fox Theatre.

The review focuses a great deal on the novelty of sound in the film, demonstrating the attraction of this new technology for a pre-Depression movie-going audience. By Uri Friedman

Review of the film “Sunny Side Up” at the Fox-Locust Theatre.

The review focuses a great deal on the novelty of sound in the film, demonstrating the attraction of this new technology for a pre-Depression movie-going audience.  By Uri Friedman

Film critic’s assessment of Hollywood in the late 1920s.

Discusses the upheavals that talking pictures have caused in the Hollywood film industry and warns Philadelphia readers that getting a job as an extra in Hollywood at the time is very difficult. His statements describe an unfortunate state of affairs in Hollywood that would be fully realized with the coming stress of the Depression.  By Uri Friedman  

Review of the film “The Hollywood Revue” shown at the Aldine Theatre.

The review gives a second glimpse at the way a film critic saw the Hollywood Revue and also shows that jazz music was incorporated into the film.  By Uri Friedman

Review of the film “Broadway” at the Stanley Theatre.

The review shows how movies before the Depression often dealt with Jazz Age themes such as the exciting life in nightclubs.  By Uri Friedman

Review of the film “The Hollywood Revue” shown at the Aldine Theatre.

The review shows how in the period before the Depression the recent advent of talkie films and the use of new color technology allowed movies such as this one to draw big audiences by focusing on songs, dances, lively chatter, and aesthetics, rather than dialogue.  By Uri Friedman

Briefly discusses the cast and the Colored Players while announcing the premiere of The Scar of Shame. By Elissa Stern

Dudley, S. H. (1927, June 26). Dud’s Dope. Chicago Defender, 8A. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

S. H. Dudley, who later becomes closely involved with the Colored Players Film Corporation advocates the production of race pictures. By Elissa Stern

Dudley, S. H. (1927, June 25). Dud’s Dope. Chicago Defender, 8A. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

S. H. Dudley discusses returning from a conference in Philadelphia in which he was invited to become involved with the Colored Players Film Corporation and appeals to readers to contribute financially to make “a one million dollar corporation”. By Elissa Stern

Dudley, S. H. (1927, March 12). Dud’s Dope. Chicago Defender, 8A. [Cited in Oscar Micheaux and his circle : African-American filmmaking and race cinema of the silent era / Pearl Bowser, Jane Gaines, and Charles Musser editors and curators. [0253339944] Bloomington : Indiana University Press, c2001.]

In his column, S. H. Dudley, who became closely involved with the Colored Players Film Corporation of Philadelphia, advocates the production of race films and cites the Colored Players as a praiseworthy example. By Elissa Stern

Canby, Vincent. ‘Scar of Shame,’ a Black Pioneer Film, at Whitney. The New York times [0362-4331] (March 18, 1976).

This article summarizes the Colored Players Film Corporation’s 1927 film The Scar of Shame and reviews a 1976 screening of the film at the Whitney Museum of American Art in New York City, providing an example of the place the company’s work has taken in the discourse of film history. By Elissa Stern

Fraser, Gerald C.  Two Weekends of Black Film Classics at Symphony Space ...  The New York times [0362-4331] (Nov 30, 1979).

This article announces a 1979 screening of the Colored Players Film Corporation of Philadelphia’s 1927 film The Scar of Shame in association with a screening of Oscar Micheaux’s Body and Soul(1925), briefly summarizing the two films and the context of their production.  These are billed as “Black Film Classics” providing an example of the place the work of the Colored Players has come to hold in film historical discourse.  By Elissa Stern

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Kalinak, Kathryn. Kathryn Kalinak Responds to Jane Gaines’ “The Scar of Shame: Skin Color and Caste in Black Silent Melodrama." Cinema journal [0009-7101] 27.2 54-56. Summer 1987.

Kalinak responds briefly to Gaines’ social and historical analysis of the context in which The Scar of Shame (1927) was produced and screened. She calls for an analysis of the portrayal of black female sexuality in the film. By Elissa Stern

Leab, D. J. "All-Colored"-But Not Much Different: Films Made for Negro Ghetto Audiences, 1913-1928. Phylon [0031-8906] 36.3 321-339. 3rd Qtr., 1975

Leab discusses the representation of blacks in film during the period from 1913-1928 and the audience that were the targets of such representations. This discussion of spectatorship and black representation in film is relevant to the context in which the Colored Players Film Corporation of Philadelphia worked during the second half of the 1920s. By Elissa Stern

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Bowser, P. & Spence, L. Oscar Micheaux’s Body and Soul and the Burden of Representation. Cinema journal [0009-7101] 39.3 3-29. Spring 2000.

This article provides a good discussion of film production in the context of stratification within black urban communities at a time contemporary with the production of the Colored Players Film Corporation.

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Cripps, Thomas.  Thomas Cripps Responds to Jane Gaines.  Cinema journal [0009-7101] 27.2 56-59.  Winter 1988.

Cripps responds to Jane Gaines’ analysis of The Scar of Shame, praising her application of melodramatic cinema and literature theory to black film, but calls for increased attention to the black audience and its modes of spectatorship in 1920s America.  By Elissa Stern 

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Gaines, Jane. The Scar of Shame: Skin Color and Caste in Black Silent Melodrama. Cinema journal [0009-7101] 27.2 54-56. Summer 1987.

Gaines analyzes issues of aesthetics and spectatorship surrounding the 1927 Colored Players Film Corporation’s 1927 film The Scar of Shame. She notes that the portrayals of black figures in the film are specific to a particular historical moment and are “haunted by white society” and a pervasive class consciousness among the black community (p. 5). She addresses the political views of the owners of the company in reference to those portrayed in the film citing the influence of a racist society as a cause for the melodramatic “stylistic excess” in the film (p. 16). By Elissa Stern

Review of opening night at a new theater. Arcadia Theater is noted for being “pretty and comfortable.” It was described as a well planned theater part of the shift towards more elaborate exhibition spaces such as picture palaces. The decorum was French renaissance with marble and an expensive organ; the theater even had an air conditioning system. The theaters policy is to only show “high-class photo plays, with frequent changes of subjects.” Arcadia seems to have been designed as a space for elite art.  By Jake M. Chanin

Article reviewing theater plays and films. Mention of Juggernaut playing at the Arcadia Theater, which was “brilliantly added to the list of picture theaters.” Juggernaut was not worthy for its “thrilling scenes” especially the “crashing through a trestle of an entire railroad train.” This crash was a “climax” and “in itself would makes the picture well worth seeing.” Review demonstrates the novelty of early cinema. By Jake M. Chanin

Weekly motion picture novel from Sunday December 27, 1914. Motion pictures penetrated newspapers. The Inquirer began running a weekly series.  By Jake M. Chanin

Review of new theater (playhouse) the Forrest Theater. This is a play house but it is still interesting because it is an example of the expansion in exhibition spaces and it marks the move towards more opulent spaces. The Forrest Theater is described as “magnificent” and “a gem.”  By Jake M. Chanin

Article on the future of motion pictures in 1915. Integration of the theater space as an exhibition area for plays, burlesque shows, vaudeville, and photo plays.  By Jake M. Chanin

The Greater New York Film Rental Company, through its attorneys, Rogers & Rogers of 160 Broadway, brought a Sherman law monopoly suit in the Federal District Court yesterday to recover threefold damages, aggregating $1,800,000, from an alleged combination of moving picture manufacturing and rental concerns which, the plaintiff alleges, constitute an illegal combination controlling 95 per cent. of the moving picture business of the country. Information on the Lubin Legal battles with Edison. By Lara Fine

In 2004, Joseph Eckhardt pushed to get a historical marker placed for the demolished Betzwood Motion Picture Studio and it was granted. During that year, he researched to find only 29 of the myriad of films made at the studio because the rest were demolished. Each year, a Betzwood Silent Film Festival is held in May. By Lara Fine

HUBNER’S MUSEUM – A mechanical novelty, the Lubin Cineograph, which will exhibit moving pictures, will be the chief attraction this week. This article advertises the first time that Lubin’s Cineograph, from Philadelphia, will be showcased in New York City. By Lara Fine

Describes commemoration of the historical Betzwood Studio site. Includes a picture of Eckhardt and colleagues in front of the new marker. By Lara Fine

The death of Sigmund Lubin was surrounded by suspicions that he fell into poverty in the last few years of his life. His daughter refutes this supposition and then the rest of the article is dedicated to an extended obituary. By Lara Fine

PHILADELPHIA, Oct. 8. -- Ferdinand Singhi and his four-year-old son, Kingston, have been found in Chicago. Singhi's father-in-law, Sigmund Lubin, and Mrs. Singhi, who was Miss Edith Southern Lubin before her marriage five years ago, are preparing to send detectives West to induce Singhi to release the child. Sigmund Lubin is famous enough in Philadelphia to have to kidnapping of his son make the New York papers. By Lara Fine

PHILADELPHIA, June 13. -- A boy was fatally burned, a score of persons were injured, eleven two-story brick dwellings were destroyed, and thousands of feet of moving picture films went up in flames this morning as a result of an explosion in the Lubin moving picture plant at Twentieth Street and Indiana Avenue. The loss resulting from the destruction of the moving picture reels is estimated at $1,500,000. A New York angle on the explosion that destroyed the Lubin Film Company. By Lara Fine

PHILADELPHIA, Aug. 16. -- The Federal Government attacked the so-called Moving Picture Trust in a civil suit filed here to-day for the dissolution of the Motion Picture Patents Company and the General Film Company. Ten prominent moving-picture film concerns are accused of combining to monopolize the business, even to the extent of increasing or decreasing the number of motion-picture theatres, in which they have n proprietary interest. (One of the companies is the Lubin Manufacturing Company) Information on the Lubin Legal battles with Edison. By Lara Fine

PHILADELPHIA, Penn., Oct. 7. -- Taken from a sick bed by his father on Sept. 30, Kingston Singhi, three years old, the grandson of Sigmund Lubin, a well-known manufacturer of moving-picture films, has not since been heard of by the child's mother, and Mr. Lubin is using every effort to locate the missing father and child. Sigmund Lubin is famous enough in Philadelphia to have to kidnapping of his son make the New York papers. By Lara Fine

The explosion at the Lubin Manufacturing Company made front page in the city newspaper so it was obviously well known. The article states that many of Lubin’s films were destroyed – a loss we still feel today. By Lara Fine

Vitagraph-Lubin-Selig-Essanay Inc., the new combination of motion-picture producers, announces the first sixteen productions to be offered through their booking offices. Philadelphia’s very own film manufacturing company is large enough to enter in contract with other big companies to starts a booking office. By Lara Fine