Part-Time Wife (1930)A “dame” is another word for a woman, but not all women are dames. Embodying both the vibrancy of the Jazz Age and the cynicism of the Great Depression, dames are fast-talking, sassy, and with a hard shell to match. Dames populate the world of early-1930s Hollywood cinema, personifying the socio-economic politics and (relative) gender progressivism of the decade. An upcoming MoMA film program entitled “Dames, Janes, Dolls, and Canaries: Woman Stars of the Pre-Code Era” explores the idea of the pre-Code Hollywood dame in all of her multitudes. Organized by film writer and historian Farran Nehme along with Dave Kehr and Olivia Priedite, the program showcases an array of talent from popular early-1930s actresses like Madge Evans, Mae Clarke, and Nancy Carroll, focusing specifically on stardom, femininity, and performance. Through this dive into the representation of gender in the pre-Code era (1929 to mid-1934), we can...
- 2/1/2022
- MUBI
In the midst of this week’s flashy awards shows, the film industry received a sad update with the death of Buck Henry, the two-time Oscar-nominated writer, director, and actor. Henry’s most famous credits may have been his screenplay for “The Graduate” and his direction of “Heaven Can Wait,” but his career stretched across 60 years and many memorable credits film and television alike. Here, critic and filmmaker Mark Cousins (“The Story of Film”) shares his thoughts on Henry’s significance.
“I’ll read it when I’m dead.”
I had said, again, to Buck Henry, that there should be a book about his life, the people he worked with, the times and places he knew. He seemed to have met everyone in film, theater, comedy and music in the 20th Century. “The only people you didn’t know are Elvis and my granny”, I said. “I knew Elvis…”
The...
“I’ll read it when I’m dead.”
I had said, again, to Buck Henry, that there should be a book about his life, the people he worked with, the times and places he knew. He seemed to have met everyone in film, theater, comedy and music in the 20th Century. “The only people you didn’t know are Elvis and my granny”, I said. “I knew Elvis…”
The...
- 1/10/2020
- by Mark Cousins
- Indiewire
Tony Sokol Jan 9, 2020
Buck Henry, who created classic comedy for big and small screens, dies at 89.
Genius comedy writer and actor Buck Henry died of a heart attack at Los Angeles' Cedars-Sinai Health Center at the age of 89, according to Variety. Henry was a frequent host on Saturday Night Live, wrote the screenplays for such comedy classics as The Graduate and What’s Up, Doc? and co-created Get Smart with Mel Brooks.
Buck Henry, who was born Henry Zuckerman on Dec. 9, 1930, was the son of silent film actress Ruth Taylor, who was also the star of the original Gentlemen Prefer Blondes. His stockbroker father was a retired Air Force brigadier general named Paul Steinberg Zuckerman. Given Henry’s penchant for comic corruption, this may have informed the educational subterfuge he mined to adapt, along with collaborator Calder Willingham, Charles Webb's novel The Graduate for Mike Nichols' 1967 classic generational comedy. “I...
Buck Henry, who created classic comedy for big and small screens, dies at 89.
Genius comedy writer and actor Buck Henry died of a heart attack at Los Angeles' Cedars-Sinai Health Center at the age of 89, according to Variety. Henry was a frequent host on Saturday Night Live, wrote the screenplays for such comedy classics as The Graduate and What’s Up, Doc? and co-created Get Smart with Mel Brooks.
Buck Henry, who was born Henry Zuckerman on Dec. 9, 1930, was the son of silent film actress Ruth Taylor, who was also the star of the original Gentlemen Prefer Blondes. His stockbroker father was a retired Air Force brigadier general named Paul Steinberg Zuckerman. Given Henry’s penchant for comic corruption, this may have informed the educational subterfuge he mined to adapt, along with collaborator Calder Willingham, Charles Webb's novel The Graduate for Mike Nichols' 1967 classic generational comedy. “I...
- 1/10/2020
- Den of Geek
Buck Henry, the actor-screenwriter-director who co-created “Get Smart,” co-wrote “The Graduate” and co-directed the hit 1978 Warren Beatty film “Heaven Can Wait,” died Wednesday night in Los Angeles. He was 89.
According to Deadline, which first reported the news, Henry died at Cedars-Sinai Health Center following a heart attack.
Born Henry Zuckerman in 1930 in New York City, Henry was the son of silent film star Ruth Taylor. He began his entertainment career in the early 1960s as a cast member on TV shows like the “The New Steve Allen Show” and “That Was the Week That Was.” Soon after, he co-created the spy thriller parody “Get Smart” with Mel Brooks, also co-writing several episodes.
Though his first film script was for the 1964 movie “The Troublemaker,” in which he also had a minor role, Henry made his name as a screenwriter with “The Graduate,...
According to Deadline, which first reported the news, Henry died at Cedars-Sinai Health Center following a heart attack.
Born Henry Zuckerman in 1930 in New York City, Henry was the son of silent film star Ruth Taylor. He began his entertainment career in the early 1960s as a cast member on TV shows like the “The New Steve Allen Show” and “That Was the Week That Was.” Soon after, he co-created the spy thriller parody “Get Smart” with Mel Brooks, also co-writing several episodes.
Though his first film script was for the 1964 movie “The Troublemaker,” in which he also had a minor role, Henry made his name as a screenwriter with “The Graduate,...
- 1/9/2020
- by Ross A. Lincoln
- The Wrap
Jack Nicholson, Barbra Streisand in Vincente Minnelli's On a Clear Day You Can See Forever At Film Threat, Phil Hall comes up with a follow-up to his 2008 article about important lost films. Among the 50 titles on Hall's highly eclectic new list are a version of Carmen (1915) starring Fox vamp Theda Bara; The Life of General Villa (1914), in which Mexican revolutionary Pancho Villa plays himself and future filmmaker Raoul Walsh played Villa as a young man; and the Rudolph Valentino vehicle A Sainted Devil (1924). Also, the 1928 version of Anita Loos' Gentlemen Prefer Blondes, featuring Ruth Taylor; Jealousy (1929) one of two talkies (the other being The Letter) starring Broadway legend Jeanne Eagels; Lon Chaney's last silent film, Thunder (1929); and Alam Ara (1931), the first Indian talking picture. And more: Heartache (1936), the first Cantonese-language American production; segments from what was to become part III of Sergei [...]...
- 4/20/2011
- by Andre Soares
- Alt Film Guide
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