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

Promotion of Signs.  By A. Long

Promotion of "Philly".  By A. Long

Promotion of “Philly”.  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 attended school in an upscale Episcopalian institution in suburban Philadelphia. Instead of film focusing on crop circles and the simple alien supernatural, the director constructs a narrative of a higher supernatural to center on themes on faith and miracles. 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

Not only is this another in the line of Cassavetes retrospectives in Philadelphia, but the International House has gone one step further in canonizing Cassavetes and turning the retrospective into a means of carrying on film history by showing Charles Kiselyak’s three-hour and twenty-minute documentary, “A Constant Forge”. The role of retrospectives like this one is not lost on the International House, as they begin their write-up on the event with “Since his death in 1989, recognition of John Cassavetes’ significance has grown steadily – a recognition that often eluded him in life.”  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

Barely four months after his death, and there is already a tribute documentary. This is an indication of his significance, as is the fact that he is referred to as “one of film’s great mavericks”.  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 received the highest audience rating of the entire film festival: 4.46 out of 5, causing it to receive the audience award in the “Danger After Dark Film” category.  By S. Plukas

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

Opening night film for the 2005 Philadelphia Film Festival.  The director of this film, Álex de la Iglesia, prior to “Ferpect Crime” had received the Phantasmagoria Award at the 2003 Philly Film Festival.  His 2005 opening night screening proved to be the most popular film shown for residents of Philadelphia.  There was an unusually high attendance for the film festival with a showing of 1,277 people.  It was actually the highest attendance of people for the entire history of the festival, breaking last years record of 905 for Robert Hall’s film Lightening Bug.  Even though this was a foreign film with subtitles, it was still highly appreciated which shows that Philadelphia film has begun to expand its interests internationally since last year when the opening night film was Spade, which was a U.S. based.  By S. Plukas

Although not produced in Philadelphia, Mad Hot Ballroom won the Audience award for best documentary. The film scored a 4.86 rating on a 5 point scale. The film recieved over 600 viewers in its showing. Mad Hot Ballroom caught the interest of many film goers in Philadelphia as well as around the country.  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

State Property II was one of two films in this years Film Festival that  took place in the city of Philadelphia. The film gives a straightforward look on crime that still takes place today in the 'rough' neighborhoods of Philadelphia. To an outside viewer, this gives a negative insight on Philadelphia culture. By S. Plukas

A short biography of the life of Stallone and the success of Rocky.  This is a good resource for one looking for quick information on the successes and failures of Stallone.  By D. Goldstein

Ryan and Kellner contextualize Rocky within the culture and society of its time.  The authors state that the movie was made during “the second major recession of the decade” and that the film’s story barely hides its elements of working class racism.  Ryan and Kellner see Rocky’s attack against the African-American Creed as a metaphor for the white working class’s resentment for the rising status of the African-American in 1970’s society.  By D. Goldstein

This criticism offers a small synopsis and background history of the film and its creation.  Like Rocky’s other critics, Leab describes the title character as “The Great White Hope.”  He claims that the success of the film rested on its reception by America’s White working class and that the film rejected the prejudices and fears of the Black movement toward equality in the 70’s.  It is interesting that the move to a “Bicentennial America” meant a move toward racism.  Again, I assume Stallone did not intend for this connection when he wrote Rocky’s script, but I’m sure the culture of the era influenced Stallone to unintentionally include the racist elements of the film such as Rocky’s degradation at the hands of an arrogant Black reporter.  By D. Goldstein

O’Brien notes the misrepresentation of Black boxers in the film Rocky.  He states that “in the last half century,” there has been only one great white boxer.  The rest have been black.  However, Rocky presents a White boxer as the great boxing champion.  Implicit in the Rocky films is racism.  Only after the Italian-American Rocky defeats Apollo in Rocky II does the African-American former champion choose to join his side and help him train.  In this article, O’Brien posits that racism in society may have shaped how Rocky was written.  By D. Goldstein

Martin posits that Rocky is a film rich with “ideological and mythical meanings” and conservative values.  Martin sees Rocky not as a symbol of hope for the oppressed poor, but as retaliation against the Civil Rights movement of the late 1960’s which challenged the dominant power of European-American male.  Martin implies that the theme of the oppressed white man may have conservatively shaped public attitudes in the late 70’s, leading to Reagen’s “New Right” of the 1980s.  It is very interesting to see how a film such as Rocky may have had political implications as well as cultural ones.  Martin interprets the portrayal of Rocky as the poor, oppressed white man fighting against the dominating Black man as a way of scapegoating African-Americans as the cause of financial difficulties at the end of the 70’s.   Given the film’s popularity, it is reasonable to think that this message could have affected the views of many Americans.  By D. Goldstein

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

Stallone writes a very detailed synopsis of the training for his part as a boxer in Rocky.  The article explains how Stallone learned the art of boxing, the pain of filming his intense training sequences in Philadelphia, and how he came upon Carl Weathers for the role of Apollo Creed.  Stallone also details the arduous process of writing and choreographing the nine-minute final fight scene, which he claims took 35 hours of practice.  Obviously, the time spent in producing a film does not correlate to the length of the final product.  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 is a list of the filming locations for Rocky.  The list includes specific places such as Pat’s King of Steaks and the Philadelphia Art Museum.  Since Pat’s Steaks is such a landmark of Philadelphia, it makes sense that Alvidsen included it in the film.  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

This is the original trailer for Rocky in WMA format.  It includes many shots of the streets of Philadelphia and showcases the movie’s gritty, documentary-style appearance.  By D. Goldstein

This article gives a brief history of Stallone’s creative inspiration for creating Rocky.  It also discusses the numerous problems that Alvidsen and his team ran into while filming the movie in Philadelphia, such as lack of a sufficient budget, extreme weather conditions, and lack of equipment.  The article describes how people threw food at Stallone while Alvidsen filmed Rocky jogging through the streets of Philadelphia.  It is apparent that most people did not know they were witnessing the production of a future blockbuster.  By D. Goldstein

This article includes some background history on the production of the film. The article discusses the director’s motivations for filming in Philadelphia and mentions some of the specific location in the city where the movie was filmed. The most interesting section of the article talks about the dilemma that arose out from filming the famous Philadelphia Art Museum steps scene. Rickey notes the use of the Steadicam as a suitable solution to this problem and gives a brief description of how the camera operated. The article also notes how much the audience loved the grittiness of the film that came as a result of its filming on the streets of Philadelphia. By D. Goldstein

This short article discusses the use of the Steadicam in the famous Philadelphia Art Museum steps scene in Rocky.  The article also notes that the use of the Steadicam in the fight scenes made the movie a sensational sports film.  It also reveals a production mistake in the film where the audience can see Garrett Brown filming the fight scene with the Steadicam.  By D. Goldstein

This webpage offers an extremely long and detailed summary of the movie Rocky.  It includes dialogue exchanges and detailed descriptions of setting, characters, props, etc. and would be a good tool for anyone who wants to look at important scenes and dialogue from the film without watching the movie or reading the script.  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

This is Sports Illustrated’s original review of Rocky.  Coursen criticizes Rocky’s unrealistic boxing scenes and concludes the movie is purely fantasy.  He finds the scene of Apollo Creed’s entrance as George Washington crossing the Delaware particularly amusing.  From what I have read of Stallone’s interviews, his motive to create Rocky was not as an homage to the sport of boxing but rather as a Cinderella story of hope.  By D. Goldstein

This is Ebert’s original review of the film Rocky.  Most of the review is a synopsis of the movie.  Ebert compares Stallone to Marlon Brando from On The Waterfront and points out that Alvidsen purposely filmed Stallone in conspicuously deserted streets in Philadelphia in order to detract from the sensation of the film feeling like a documentary.  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

Basic info on the Sam’s Place theater, along with historical photographs.  By A. Solether

Basic info on the Milgram theater, along with historical photographs.  By A. Solether

Basic info on the Sameric theater, and many photographs of Philadelphia’s most famous movie theater.  By A. Solether

Basic info on the Fox theater, along with historical photographs.  By A. Solether

Website advocating the historical importance of Philadelphia’s famous Sameric Theater (formerly Boyd Theater), including many pictures of the old picture palace. By A. Solether

Listing of select local theaters and what types of films they usually played.  By A. Solether

Film guide listing current showings at local theaters.  Theaters include: Eric on Campus at 40^th and Locust, Budco Regency at 16^th and Chestnut, Budco Midtown at Broad and Chestnut, Theater of the Living Arts at 334 South Street, and the Roxy Theater, at 2023 Sansom.  By A. Solether

Ad for Protocol, starring Goldie Hawn, playing at the Budco Olde City 1 on Sansom St. between Front and 2^nd Sts; Ad for Micki & Maude, playing at the Budco Palace Theater at 1812 Chestnut. By A. Solether

Ad for a sneak preview of The River starring Mel Gibson, playing at Sam’s Place 1 & 2, on the corner of 19^th and Chestnut; Ad for Dune, playing at Eric’s Mark 1 at 18^th and Market.  By A. Solether

Ad for Scarface, playing at the Sameric 3 at 1908 Chestnut.  Also advertised is the use of 4-Track Magnetic Stereo Sound.  By A. Solether

Ad for Francis Ford Coppola’s Apocalypse Now, playing at the Budco Goldman Theater at 15^th and Chestnut on screen 1; ad for Cuba, with Sean Connery at the Budco Goldman Theater on screen 2; ad for Quadrophenia playing at the GCC Walnut Mall 1-2-3 at 3925 Walnut.  By A. Solether

Ad for Star Trek: The Motion Picture, playing at the FOX theater at 16^th and Market.  A noteworthy difference from previous ads is that it mentions theater’s ability to utilize Dolby Stereo 4-Track Surround Sound.  By A. Solether

Brief description of ‘Laserock,’ a new laser-light show to the sounds of popular rock music of the time playing in the IMAX theater in the Living History Center at 6^th and Race.  By A. Solether

Ad for The Goodbye Girl, playing at the Arcadia Theater at 1529 Chestnut.  By A. Solether

Ad for That Obscure Object Of Desire, playing at the Ritz Three at 214 Walnut St.  By A. Solether

Ad for Carrie, playing at the Duchess at 1605 Chestnut; ad for Silver Streak, playing at Eric’s Place at 1519 Chestnut.  By A. Solether

Ad for The Enforcer with Clint Eastwood, playing at the Milgram Theater on Market Street above 16^th St.; ad for A Star Is Born, playing at Stage Door Cinema on 16^th St. between Chestnut and Market. By A. Solether

Ad for Sylvester Stallone’s Rocky, playing at the Eric Twin Rittenhouse Square at 1907 Chestnut; ad for Network, playing at the Eric Mark 1 at 18^th and Market.  By A. Solether

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

Poor White Trash Part 2. Advertisement. Philadelphia Inquirer 20 February 1976: 6-D.

Philadelphia Inquirer ad for a film barred for children and requiring the attendance of uniformed police to keep them out of the theater. By A. Carl

Midway. Advertisement. Philadelphia Inquirer 3 July 1976: 7-A.

Philadelphia Inquirer ad for Midway, the second film since Earthquake to use the special “Sensurround” system in theaters to make the whole room vibrate with intense sound. Very few local theaters had this speaker system installed. 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

“Philadelphia’s Finest Male Cinema.” Philadelphia Inquirer 30 Jan 1976: 7-D .

An ad among various film advertisements and arts & leisure articles in the Philadelphia Inquirer  inviting readers to a “Male Cinema.”  By A. Carl

“Neighborhood Movie Directory.” Philadelphia Inquirer 9 Jan 1976: 8-D.

Local listings of theaters, movies, and showtimes in Pennsylvania.  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

Ebony, Ivory and Jade and Black Shampoo. Advertisement. Philadelphia Inquirer 4 July 1976: 5-K.

One of many ads in the Philadelphia Inquirer for blaxpoitation films. By A. Carl

The Four of Us and The Sensuous Three. Advertisement. Philadelphia Inquirer 10 Jan 1976: 5-D.

Philadelphia Inquirer ad for raunchy orgy-centric sexploitation films, among many near- and fully-pornographic films advertised alongside family fare.  By A. Carl

Barry Lyndon. Advertisement. Philadelphia Inquirer 9 Jan 1976: 9-D.

Half page ad in the Philadelphia Inquirer for Barry Lyndon, made up almost exclusively of critical review quotes and award citations.  By A. Carl

Snow White and the Seven Dwarfs. Advertisement. Philadelphia Inquirer 9 Jan 1976: 8-D.

Philadelphia Inquirer ad for a re-release of the Disney children’s film, on the same page as several ads for X-rated films.  By A. Carl

The Mysterious Monsters. Advertisement. Philadelphia Inquirer 9 Jan 1976: 8-D.

Philadelphia Inquirer ad for a pseudo-documentary on the “real” legendary monsters.  By A. Carl

The Hindenberg. Advertisement. Philadelphia Inquirer 8 Jan 1976: 6-C.

Philadelphia Inquirer ad that cites the “$15,000,000” production cost of the film, and displays the showtimes for only one theater, The Duchess. By A. Carl

Hustle. Advertisement. Philadelphia Inquirer 8 Jan 1976: 6-C. 

Quarter-page ad in the Philadelphia Inquirer playing up heavy sexuality and action in the film.  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

Advertises the world premiere of “Vigil in the Night” at the Aldine Theatre at 19^th and Chestnut St. 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

Kyle Counts, “Birdy”, Magill’s Cinema Annual 1985, p.93

Discussion of director/producer Alan Parker’s insistence on filming in Philadelphia (as in novel), describing it as a “background of hopelessness W.C. Fields, Birdy, or anyone else would yearn to soar above”.  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

History of Hollywood in 1960’s and 1970’s.  By M. Kach and G. Lane.

Philadelphia inquirer [microform]. Philadelphia, Pa. : Triangle Publications, 1969-
Call#: Microfilm news 61

The locations of movie theaters in Philadelphia along with the new releases of motion pictures. By M. Kach and G. Lane

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

The locations of movie theaters in Philadelphia along with the new releases of motion pictures. By M. Kach and G. Lane

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

This film describes the confrontation between the MOVE organization and the Philadelphia Law Enforcement. On May 13^th, 1985, 11 men, women and children members of MOVE were killed and 61 homes destroyed by fire. The film explores the history of Blacks in Philadelphia and the MOVE organization during this time period.  By A. Wilkins
 

Boyette, Michael. . "Let it burn!" : the Philadelphia tragedy / Michael Boyette with Randi Boyette. [0809245434 ] Chicago : Contemporary Books, 1989.
Call#: Van Pelt Library F158.9.N4 B69 1989

This is a detailed, first hand, account of the events on May 13^th, 1985. The exact times of the day when the specific events occurred are recorded. It is a timeline of not only the entire day but the events leading up to May 13^th, and the effects of the bombing. It examines the mindset and the status of the people living in the neighborhood at the time.  By A. Wilkins

Assefa, Hizkias. . Extremist groups and conflict resolution : the MOVE crisis in Philadelphia / Hizkias Assefa and Paul Wahrhaftig. [027592694X (alk. paper) ] New York : Praeger, 1988.
Call#: Van Pelt Library F158.9.N4 A87 1988

Takes look at the motives behind the events of the violence on May 13^th, 1985. Who was involved, who made the decision to fire, why did this happen? All these questions are addressed and answered as best they can.  By A. Wilkins

Anderson, John, 1954 Mar. 27- .  Burning down the house : MOVE and the tragedy of Philadelphia / John Anderson and Hilary Hevenor. [0393024601 : ] New York : Norton, c1987.

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

IMDB entry for Where Angels Go, Trouble Follows.  By S. Stein

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

IMDB entry for Other Voices.  By S. Stein

This is David Lynch’s third film, which he did in Philadelphia while at the Pennsylvania Academy of Fine Arts.  The film is about an abused child who finds some seeds and grows a “grandmother” from those seeds.  As a longer short film, it illustrates the progression of Lynch in his experimentation with the surreal and as a filmmaker.  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

VCat entry for Hello, Dolly.  By S. Stein

This film was filmed at Northeast High School at 1801 Cottman Ave, Philadelphia. The documentary of a Philadelphia High School was elected into the National Film Registry in 1991. The movie follows a clash between students and authority in a city school. The interactions between adults and children are representative of generational values of the time and the burgeoning counterculture and youth movements of the era. By S. Stein

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

This film was done in Philadelphia at the Pennsylvania Academy of Fine Arts. David Lynch attended school at the Academy, where he first began working in film. This is one of his early experimentations with surrealism. 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

IMDB entry for Sweet Love, Bitter.  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

IMDB entry for The Trouble with Angels.  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 1955 promotional film for the Delaware Valley area made by the WPTZ motion picture unit.  An interesting film in and of itself, Miracle On the Delaware briefly features the Boyd Theater (then generally known as Philadelphia’s Cinerama Theater) in 1955.  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

It’s interesting that David and Lisa, released in New York in December of 1962, is being advertised in Philadelphia—the city in which it was filmed—almost a year later, in December of 1963—8 months after the film failed to win an Academy Award.  And on a double-bill, no less. It’s very likely that this is a second-run for the film.  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

Glazer, Irvin R. “Philadelphia Theatres, A-Z.”  New York, Westport, CT, London. Greenwood Press: 1986.  p. 70-71

According to Glazer, the Boyd was the “only Art Deco first-run moving picture theatre erected in the city” of Philadelphia.  In 1963, the Boyd underwent a transition from the three-projector Cinerama system to a single-projector system, though Glazer only mentions the three projection booths being installed.  He also mentions, interestingly, that “when Cinerama product was no longer available, the Boyd had a brief period of porno.”  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. Notice that the de-emphasis of the 'Cinerama' from earlier Boyd advertisements.; 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

VCat entry for "It's a mad, mad, mad, mad world". By A. Migdail