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Summer 2010:
Patricia Neal
by
John Gallagher
PATRICIA NEAL: We mourn the passing of Patricia Neal, one of the last surviving movie stars of Hollywood’s Golden Age, honored by the National Board of Review as 1963’s Best Actress for her work in HUD, and again in 1982 with a Career Achievement Award. Stephen Michael Shearer’s Patricia Neal: An Unquiet Life will be published in paperback in spring 2011 by University Press of Kentucky. Here’s an eloquent tribute from the publisher:
"Throughout her career, Patricia Neal captivated audiences with her charisma, charm, and intelligence, nabbing some of the most coveted roles in film during the 1950s and 1960s. The fresh-faced actress from eastern Kentucky commanded audiences’ attention both on the stage and on the screen on her way to becoming one of the most iconic actresses in Hollywood. However, the award-winning Hollywood star whose career was marked by both tragedy and triumph passed away on August 8, 2010, in her home in Edgartown, Massachusetts, at the age of 84."
Neal, a native of Packard, Kentucky, held a passion for acting from a young age, performing monologues throughout her schooling and eventually attending Northwestern University as a drama major. Her unique look and talent quickly launched her to stardom, as she began her career on Broadway. She was honored as the first recipient of a Tony award in 1947 for her role in the Broadway play ANOTHER PART OF THE FOREST before making her first film appearance in JOHN LOVES MARY (1949) opposite Ronald Reagan. She went on to star in THE FOUNTAINHEAD that same year, and later performed in some of the most well known films of the golden age of Hollywood cinema, appearing in classics such as THE DAY THE EARTH STOOD STILL (1951), A FACE IN THE CROWD (1957), and BREAKFAST AT TIFFANY’S (1961). She also was awarded the Best Actress Oscar in 1963 by the Academy of Motion Picture Arts and Sciences for her role as Alma in HUD.
Misfortunes plagued Neal’s life in the midst of her success, including an infamous, doomed love affair with actor Gary Cooper, the death of her first daughter and near death of her infant son, a debilitating series of strokes at age 39, and her divorce from Roald Dahl in 1983. Despite personal tragedy, Neal consistently exhibited a phoenix-like tenacity, rising from the depths of her illness and heartbreak to win a Golden Globe Award and three Best Actress Emmy nominations in the 1970s and 80s. She also garnered respect for her efforts to rehabilitate and inspire stroke victims.
While writing Patricia Neal: An Unquiet Life, UPK author Stephen Michael Shearer had the privilege of personally interviewing Neal about her career and personal life. She granted him complete access to her personal document collection from over the years, as well as the opportunity to interview intimate friends. What resulted was the first biography of the actress in over twenty years, following only Neal’s personal memoir, As I Am. Shearer’s biography is scheduled to be released in paperback in spring 2011.
Lauded by critics for her achievements on the stage and screen and considered one of the best actresses of her era in Hollywood, Neal left an indelible mark on American film culture. Her legacy will be long-lasting, as she will forever be known as an actress, survivor, and legend.”
A GOOD YEAR FOR JOHN FORD: America’s cinema poet laureate has been the subject of exceptional books by Andrew Sarris, Peter Bogdanovich, Lindsay Anderson, Joseph McBride (solo and with Michael Wilmington), Scott Eyman, J. A. Place, Ronald L. Davis, Harry Carey, Jr., and the director’s grandson Dan Ford, but perhaps the best analytical work is Tag Gallagher’s John Ford: The Man and His Films (1986, University of California Press). It’s been a good year for the perpetuation of the Fordian legacy -; in the wake of Criterion’s definitive DVD release of STAGECOACH (1939) and the discovery of the lost Ford silent backstage drama UPSTREAM (1927), here’s more good news for Ford fans: Gallagher (no relation) has added 40% new material including all-new digital frame enlargements to his seminal bio-critical study. There’s lots of biographical info and a comprehensive filmography (with the on-line version adding dozens more titles to Ford’s WWII propaganda credits); Gallagher’s insights into Ford’s massive body of work make you want to revisit old favorites and explore the ones you haven’t seen. In today’s market, sadly, it’s unlikely that a publisher would print a revised version of the book (the original edition was 572 pages), but thanks to the internet we have 700 brilliant pages on “Pappy,” “Coach,” “Jack,” “Natani Nez,” Hollywood’s eminence grise John Ford … just clicks away:
http://rapidshare.com/files/61830908/ford_tag3.pdf.zip.
RAOUL WALSH TOO: 2010 promises to be a good one for Ford peer Walsh. Marilyn Moss’ The Adventures of Raoul Walsh is upcoming from University Press of Kentucky, and Warner Home Video has just released ERROL FLYNN ADVENTURES, five restored and remastered World War Two action pictures, four directed by Walsh. Flynn did not get along with Michael Curtiz, despite their many successes (CAPTAIN BLOOD, ADVENTURES OF ROBIN HOOD, DODGE CITY, THE SEA HAWK, among others) but quickly bonded with fellow bon vivant Walsh. They teamed for the first time in 1941 on Warners’ epic Custer picture THEY DIED WITH THEIR BOOTS ON (available in WHV’s Flynn Western set). Next came DESPERATE JOURNEY (1942), rushed into production after December 7, sending Flynn, Ronald Reagan, Alan Hale and Arthur Kennedy on a hair-raising mission into Germany. The movie has been called a Rover Boys adventure in the tradition of GUNGA DIN, and it truly is that, loaded with impossible heroics, wild chases and escapes, with Walsh’s direction at its most brisk.
War genre icon Lewis Milestone (ALL QUIET ON THE WESTERN FRONT, A WALK IN THE SUN, PORK CHOP HILL) directed EDGE OF DARKNESS (1943), although some sources credit Walsh with uncredited direction. Robert Rossen (later director of ALL THE KING’S MEN and THE HUSTLER), wrote the script about a Nazi-occupied Norwegian fishing village and the town’s Resistance effort. It’s one of the finest wartime studio propaganda efforts, lavishly produced by Warners, with Flynn and the always wonderful Ann Sheridan supported by an outstanding ensemble cast including Walter Huston, Judith Anderson, Ruth Gordon, Helmut Dantine and Nancy Coleman. Two terrific Walshs -- NORTHERN PURSUIT (1943) and UNCERTAIN GLORY (1944) -- are most welcome on DVD. Flynn plays a Canadian Mountie in NORTHERN PURSUIT battling Nazi saboteurs; in UNCERTAIN GLORY he’s a French criminal-turned-patriot. Walsh’s virtues as a genre director are on full display in both pictures, with a masterful command of tempo and mise-en-scene. 1945, the last year of the war, saw the release of four of the finest combat films from Hollywood -; Wellman’s THE STORY OF G. I. JOE, Ford’s THEY WERE EXPENDABLE, Milestone’s A WALK IN THE SUN, and Walsh’s OBJECTIVE, BURMA! (1945), with Flynn leading a squad of paratroopers behind enemy lines into the Burmese jungle. The movie provoked considerable controversy in the UK, with English critics condemning OBJECTIVE, BURMA! for ignoring the British military presence in the campaign; this and all other facets of the production are thoroughly covered in an exceptional audio commentary by Frank Thompson, Rudy Behlmer, and Jon Burlingame (who focuses on the Franz Waxman score). WHV loads the box set with their Warner Night at the Movies extras; each title includes short subjects, cartoons, musical shorts, vintage newsreels and trailers. Comfortably guided by his buddy Walsh, Flynn is at his best in these movies, and ERROL FLYNN ADVENTURES is highly recommended.
FILM NOIR: Sony Pictures Home Entertainment and Warner Home Entertainment have two new collections of noirs available, both among the best releases of the year.
WHV’s FILM NOIR CLASSIC COLLECTION VOL. 5 includes eight noirs on four discs from the MGM, RKO and Allied Artists vaults. Director Edward Dmytryk and star Dick Powell followed up their hit MURDER, MY SWEET (1944) with the revenge drama CORNERED (1945); Powell pursues the Nazi killer of his wife from England to continental Europe to Buenos Aires. DESPERATE (1947) is the first noir directed by Anthony Mann, who would go on to make some of the genre’s best, including 1949’s SIDE STREET; Steve Brodie becomes innocently involved with a group of thugs and goes on the run from the cops as well as the crooks (led by Raymond Burr). Phil Karlson’s THE PHENIX CITY STORY (1955) is based on the true story of attempts to clean up vice-ridden Alabama town, dubbed “Sin City USA” by the press; John McIntire and Richard Kiley headline. DIAL 1119 (1950) is an obscure hostage drama with the usually-boy-next-door Marshall Thompson cast against type as a cold-blooded killer; Gerald Mayer’s film is surprisingly violent for an MGM production. Richard Fleischer’s ARMORED CAR ROBBERY (1950) is a taut crime thriller with hard-boiled performances from detective Charles McGraw and criminal mastermind William Talman. Don Siegel’s CRIME IN THE STREETS (1955) is a highlight of the collection, a juvenile delinquent drama with compelling performances by John Cassavetes, Sal Mineo and future director Mark Rydell (ON GOLDEN POND, THE ROSE, THE COWBOYS) as the troubled urban youths and James Whitmore as the social worker who tries to help them. Clifford Odets wrote the script (from a Cornel Woolrich novel) for DEADLINE AT DAWN (1946), the only movie directed by renowned stage director and Group Theatre co-founder Harold Clurman; Clurman had worked on the legendary productions of Odets’ AWAKE AND SING!, WAITING FOR LEFTY and GOLDEN BOY.
Bill Williams plays a sailor on leave in New York City out to prove he’s not the murderer of a gangster’s sister, aided by dance hall girl Susan Hayward in one of her best early performances. Vincent Sherman’s BACKFIRE (1950) is the weakest entry in the set, again involving a character unjustly suspected of murder; a good cast helps the proceedings, including Edmond O’Brien, Gordon MacRae, Virginia Mayo, Viveca Lindfors, and Dane Clark.
Kudos to Sony Pictures Home Entertainment for aggressively mining the Columbia Pictures catalogue with vintage movies unseen for years. COLUMBIA PICTURES FILM NOIR CLASSICS II, another outstanding release in association with Martin Scorsese’s Film Foundation, delivers five excellent Fifties noirs. Fritz Lang’s underrated HUMAN DESIRE (1954) has been in the critical shadow of his preceding masterpiece THE BIG HEAT (1953, available on the COLUMBIA PICTURES FILM NOIR CLASSICS I set) as well as Jean Renoir’s previous adaptation 1938 of Emile Zola’s novel La Bete Humaine. The Lang has terrific work by Glenn Ford and Gloria Grahame (both stars of THE BIG HEAT) enmeshed in a triangle with Broderick Crawford. PUSHOVER (1954) owes a lot to Billy Wilder’s DOUBLE INDEMNITY (1944) but stands on its merits by virtue of Richard Quine’s atmospheric direction and stellar performances by DOUBLE INDEMNITY’s Fred MacMurray and Kim Novak in her screen debut. Genre master Phil Karlson is represented by one of his best, THE BROTHERS RICO (1957), based on a Georges Simenon novel, with Richard Conte as a former mobster pulled back into the underworld against his will. Jacques Tourneur is one of our great underrated directors, responsible for such works as CAT PEOPLE (1942), CANYON PASSAGE (1946), BERLIN EXPRESS (1948) and CURSE OF THE DEMON (1958); NIGHTFALL (1956) ranks among his finest, with Aldo Ray in an atypical role as an innocent man on the run. Stirling Silliphant (IN THE HEAT OF THE NIGHT) adapted the novel by David Goodis (SHOOT THE PIANO PLAYER); the fine supporting cast includes a vicious Brian Keith and Anne Bancroft in an early role. Like Irving Lerner’s MURDER BY CONTRACT (1958) starring Vince Edwards in the first Columbia noir set, this edition’s CITY OF FEAR (1959) is a rediscovery of a forgotten film; Lerner and Edwards reunite for a suspense thriller with Edwards as an escaped con who’s stolen what he thinks is a canister of heroin. It’s actually a deadly radioactive substance and the race for the cops to find him is on! The set includes the original theatrical thrillers, and featurettes with Christopher Nolan and Emily Mortimer speaking in general terms about the genre, and Martin Scorsese focusing on THE BROTHERS RICO.
Among new SPHE releases on DVD and Blu-ray, rock ‘n roll fans will love THE RUNAWAYS (2010), the story of rock icon Joan Jett (played by Kirsten Stewart) and her band including Cherie Currie (Dakota Fanning). Special features include a making-of featurette and audio commentary with Jett, Stewart and Fanning.
UNIVERSAL STUDIOS HOME ENTERTAINMENT makes comedy fans happy with the six-title set BOB HOPE: THANKS FOR THE MEMORIES COLLECTION. Two of Hope’s perennial favorites, previously released on DVD, are included -; the best of the Hope-Bing Crosby-Dorothy Lamour “Road” movies, David Butler’s ROAD TO MOROCCO (1942) and the hilarious Western parody THE PALEFACE (1948), co-starring Jane Russell, directed by Norman McLeod from a Frank Tashlin-Edmund Hartmann script. George Archainbaud’s THANKS FOR THE MEMORY (1938) is a pleasant surprise, a light romantic comedy re-teaming Hope with Shirley Ross; the pair had been featured in Hope’s feature debut THE BIG BROADCAST OF 1938 where they’d scored with their rendition of the song “Thanks for the Memory,” which quickly became Hope’s theme. Elliott Nugent’s NOTHING BUT THE TRUTH (1941) is also a treat, a comedy with the time-honored setup of Hope having to tell the truth for 24 hours or lose an expensive bet. Hope’s romantic interest is lovely raven-haired Paulette Goddard at the height of her stardom. She’s also his leading lady in the two fan favorites in the set, the horror comedies THE CAT AND THE CANARY (1939), directed by Nugent, long in demand on DVD, and George Marshall’s THE GHOST BREAKERS (1940). CAT’s an effective remake of Paul Leni’s 1927 silent old dark house thriller, played for laughs as well as chills in the Hope version. THE GHOST BREAKERS follows the formula with Hope and Goddard visiting a haunted castle in the tropics, menaced by a resident zombie, with a villainous young Anthony Quinn lurking in the background. The set includes a half dozen featurettes chronicling Bob Hope’s service entertaining the troops during World War Two, theatrical trailers and stills galleries.
HITCHCOCK ON HULU: Visit www.hulu.com for three seasons of the hard to find ALFRED HITCHCOCK HOUR from 1962-64. John Cassavetes fans are rewarded with two episodes starring the maverick indie icon -- "Water’s Edge," directed by Bernard Girard from a Robert Bloch short story, and John Brahm's "Murder Case" costarring Cassavetes reel life/real life muse Gena Rowlands. Gena also stars in two other Hitchcock episodes; other guest stars on the series include Robert Redford, James Mason, Peter Falk, Vera Miles, Dean Stockwell, Tony Randall, Jayne Mansfield, Joan Fontaine, Michael Parks, Ray Milland, Anne Baxter, Bob Newhart, Teresa Wright, Gloria Swanson, Christopher Lee, Lillian Gish, Peter Fonda, James Caan, David Carradine and John Carradine. The series directors include long time Hitchcock associate Norman Lloyd and two of the earliest works from Sydney Pollack and William Friedkin.
KINO continues to perpetuate the legacy of Buster Keaton with two new releases. A two-disc STEAMBOAT BILL, JR. (1928) set offers 35mm archival masters of the original classic as well as a completely alternate version consisting of different angles (it was common during the silent era to shoot two separate negatives for different markets). The set also offers three different music scores (The Biograph Players in 2.0 stereo and 5.1 surround, Lee Erwin organ score, William Perry piano score), a making-of documentary, stills gallery, a musical montage of Keaton stunts, and two vintage recordings of the folk song “Steamboat Bill.” LOST KEATON collects the 16 comedy two-reelers Buster made for the low-budget Educational Pictures outfit between 1934 and 1937. Keaton enjoyed creative control during the 20s, releasing his features through United Artists before signing with MGM in 1929; he did not fare well there, hampered by studio interference, the advent of sound, and various personal issues. His Educationals have been pretty much neglected over the years but they prove to be highly entertaining, recycling many of his silent gags, and will be certain to please Keaton fans. LOST KEATON includes a stills gallery, film notes by David Macleod, author of The Sound of Buster Keaton, and “Why They Call Him Buster.” Kino has also released a deluxe edition on DVD and Blu-ray of Albert Lewin’s haunting romantic drama PANDORA AND THE FLYING DUTCHMAN (1951), with Jack Cardiff’s stunning three-strip Technicolor cinematography gloriously restored in HD from the 35mm negative -; on the Blu-ray it’s even more incredible.. Ava Gardner never looked more beautiful, and James Mason gives one of his finest performances as the mysterious sea captain. Special features include a restoration comparison, an alternate opening title sequence, three theatrical trailers, two galleries of documents, stills, and behind-the-scenes photos, and EL TORERO DE CORDOBA, an 18-minute documentary about the legendary Spanish bullfighter. Kino has also released on DVD and Blu-ray the gritty, emotional underworld crime story AJAMI (2009), nominated for a Best Foreign Language Film Oscar, set in an Arab ghetto in the Israeli city of Jaffa, with a cast of non-actors, directed with great precision and feeling by Scandar Copti and Yaron Shani. Extras include deleted scenes, a featurette about casting the actors, theatrical trailer and stills gallery.
OLIVE FILMS have made a licensing agreement with Paramount to release a batch of catalog titles. The first wave is now available and includes three desirable film noir's. Charlton Heston made his screen debut starring opposite faux Bacall Lizabeth Scott in William Dieterle’s gambling drama DARK CITY (1950). William Holden, Nancy Olson and Barry Fitzgerald headline the evocative kidnap thriller UNION STATION (1950) by cinematographer-turned-director Rudolph Mate. Lewis Allen's APPOINTMENT WITH DANGER (1951) stars Alan Ladd in a postal crime drama featuring DRAGNET stars Jack Webb and Harry Morgan. Olive's July Paramount releases are rounded out by the Western revenger HANNIE CAULDER (1971), directed by Burt Kennedy, with Raquel Welch in her Hollywood starring prime as a woman out to settle the score with three bad guys beautifully played by Ernest Borgnine, Jack Elam and Strother Martin; Tarantino’s KILL BILLs were clearly influenced by the Kennedy picture. Andrew Marton's CRACK IN THE WORLD (1975) is a much desired sci-fi cult favorite, intelligently scripted, about nuclear experiments that cause a crack in the earth's crust, threatening to split the earth in two. There’s lots more great stuff coming from Olive in the coming months.
FLICKER ALLEY maintains their standard of excellence with another gloriously restored silent film. This time its CHICAGO (1927), presented in collaboration with the Blackhawk Film's Collection, the first version of the original version based on Maurien Watkin's 1926 hit Broadway play, remade by Wild Bill Wellman in 1942 with Ginger Rogers as ROXIE HART, decades before Bob Fosse brought it to Broadway as a musical and Rob Marshall created his film version. Starring jazz baby Phyllis Haver as Roxie, the silent CHICAGO focuses much more on the dramatic implications of the plot; Roxie Hart's husband Amos. for example, is not the buffoonish character from the Wellman and Marshall films but a handsome leading man played by Victor Varconi. Produced by Cecile B. deMille, CHICAGO, was directed by de Mille's assistant director Frank Urson before de Mille took over and directed a substantial amount of the film, feeling it would be a conflict to have his name on such a cynical indictment of yellow journalism while his religious epic THE KING OF KINGS (1926) was still in general release. Thought for many years to be a lost film, a pristine nitrate print surfaced in de Mille's private collection and was restored in 2006 by the UCLA Film and Television Archive. The double disc set included two outstanding documentaries, THE GOLDEN TWENTIES (1950) produced by The March of Time and THE FLAPPER STORY (1985), with octogenarians reminiscing about the wild twenties. There's also a documentary supplement CHICAGO: THE REAL LIFE ROXY (sic) HART by Silas Lesnick and Flicker Alley Chief Jeff Masino, and a brochure by Thomas Pauley on forgotten author Maurine Watkins and CHICAGO's factual background and notes by Robert Birchard, author of the definitive work on de Mille, Cecil B. de Mille's Hollywood.
IFC FILMS brings us two of the best Italian films in recent years, Marco Bellocchio’s VINCERE (2009) and Andrea Molaioli’s THE GIRL BY THE LAKE (2007). VINCERE screened at the Cannes, Toronto, Telluride and New York Film Festivals, and won a slew of prizes in Italy. Filippo Timi is brilliant as both Mussolini and his son, with Giovanna Mezzogiorno (LOVE IN THE TIME OF CHOLERA) outstanding as Mussolini’s mistress. The 71-year-old Bellocchio (FISTS IN THE POCKET, CHINA IS NEAR) is one of the Italian cinema’s greatest directors, and his bold, passionate touch is evident throughout the film (which is based on a true story). The trailer is included. THE GIRL BY THE LAKE won 10 major David Di Donatello Awards (the Italian Oscars), including Best Picture, Director and Actor (Toni Servillo from IL DIVO and GOMORRAH); based on Karin Fossum’s best-selling novel Don’t Look Back, it revitalizes the mystery thriller genre in unexpected ways. IFC includes the trailer on this title as well.
THE HISTORY CHANNEL has hit the jackpot with PAWN STARS, the popular series that combines history and entertainment in a very unique way. Using a reality format, the show chronicles the work of the (also very unique) Harrison family -; grandfather, father and son -; running a pawn emporium in Las Vegas. Customers bring in a staggering array of objets d’histoire as the Harrisons and historical experts analyze the items’ value. PAWN STARS: SEASON TWO contains 32 episodes on four DVDs along with additional footage. Warning: the show is highly addictive.
BLU-RAY: One of the most anticipated classic titles comes to Blu-ray from Warner Home Video, beautifully restored, crammed with extras. George Cukor’s A STAR IS BORN (1954) was a musical drama remake of the 1937 William Wellman/David O. Selznick Hollywood tale, beloved as a showcase for Judy Garland in the role originally played by Janet Gaynor. Propelled by Judy’s talent and charisma, Cukor’s first film in color comes to vivid life in Blu-ray. James Mason shines as Norman Maine (played in the Wellman film by Fredric March), the alcoholic star on a downward spiral as wife Garland’s star rises. In the early 80s Ron Haver restored the Cukor picture to its 176-minute glory, and that’s the version presented here with state-of-the-art preservation technology. There are sixty pieces of enhanced content in this deluxe set including alternate takes of songs like “The Man That Got Away” and “Lose That Long Face,” deleted scenes, excerpts from Judy’s recording sessions, press materials, a collectible book of rare photos, extensive footage from the world premiere attended by a Who’s Who of 1954 Hollywood, and even the Warner Bros. cartoon A STAR IS BORED.
BOOKS: Hedy Lamarr was never accused of being a great actress but she sure was a movie star, one of the most gorgeous and glamorous of them all. At 16 the young Viennese actress scandalized international audiences with a nude scene in Gustav Machaty’s ECSTASY, enough of a sensation for Walter Wanger to bring her to Hollywood to co-star with Charles Boyer in John Cromwell’s ALGIERS (1938), his remake of Julien Duvivier’s PEPE LeMOKO (1936). Hedy scored big and was signed to a long-term contract at MGM, who built her into a major star. She worked in some of the studios’s best early 40s pictures, with King Vidor twice (COMRADE X, H. M. PULHAM, ESQ.), twice opposite MGM King Clark Gable (BOOM TOWN, COMRADE X) and with Spencer Tracy and John Garfield in Victor Fleming’s TORTILLA FLAT (1942), probably her best acting job. But Metro also cast her in lead roles in a half dozen atrocities, and by 1946 she was working for B-movie maestro Edgar Ulmer. A respite from mediocrity came from no less a filmmaker than Cecil B. DeMille when he starred her in his epic SAMSON AND DELILAH (1949). After that she became known for the wrong reasons, including six marriages and an infamous 1966 arrest for shoplifting at the May Department Store in Beverly Hills. An inconsequential career … but a fascinating life; Ruth Barton gives us a detailed, well researched look at that life in Hedy Lamarr: The Most Beautiful Woman in Film, available from University Press of Kentucky. Lamarr emerges as a complex woman, much more interesting than the banal seductress roles she was often called upon to play. Most surprisingly, Barton reveals her other career as an inventor, involved in the design of a long-range torpedo guidance system, an innovation that figured in the Cuban missile crisis in 1961 and the eventual development of mobile phone technology! She was also highly litigious, suing Mel Brooks and Warner Brothers for spoofing her name as “Hedley Lamarr” (Harvey Korman’s character) in BLAZING SADDLES (1973). “I guess she didn’t get the joke,” said Mel.
University Press of Kentucky is staking a significant claim as a publisher of quality film books. This year has seen an excellent biography of Billy Wilder, Some Call It Wilder, a perfect intro to the master’s life and work; and incisive look at Columbia Pictures chieftain Harry Cohn (Harry Cohn of Columbia Pictures: The Merchant Prince of Poverty Row), with volumes on Busby Berkeley and Josef von Sternberg forthcoming.
John Gallagher
jgmovie@gmail.com |
