Hedy Lamarr: 'Invention' and inventor on Turner Classic Movies (photo: Hedy Lamarr publicity shot ca. early '40s) Two Hedy Lamarr movies released during her heyday in the early '40s — Victor Fleming's Tortilla Flat (1942), co-starring Spencer Tracy and John Garfield, and King Vidor's H.M. Pulham, Esq. (1941), co-starring Robert Young and Ruth Hussey — will be broadcast on Turner Classic Movies on Wednesday, November 12, 2014, at 7 p.m. and 9 p.m. Pt, respectively. Best known as a glamorous Hollywood star (Ziegfeld Girl, White Cargo, Samson and Delilah), the Viennese-born Lamarr (née Hedwig Eva Maria Kiesler), who would have turned 100 on November 9, was also an inventor: she co-developed and patented with composer George Antheil the concept of frequency hopping, currently known as spread-spectrum communications (or "spread-spectrum broadcasting"), which ultimately led to the evolution of wireless technology. (More on the George Antheil and Hedy Lamarr invention further below.) Somewhat ironically,...
- 11/2/2014
- by Andre Soares
- Alt Film Guide
The Late George Apley
"If I am remembered at all, it will be as the swine who rewrote Scott Fitzgerald," said Joseph L. Mankiewicz on numerous occasions, and though he does rate a mention in any Fitzgerald bio for his work revising Fitzgerald's screenplay of Three Comrades, he is also getting a sidebar retrospective, The Essential Iconoclast, at the New York Film Festival. Apart from including his several acknowledged classics, this also shines a light on some of the less celebrated movies in the distinguished Hollywood auteur's body of work.
In particular, The Late George Apley (1947) and Escape (1948) are seldom-screened dramas with suave English leading men, Ronald Colman and Mankiewicz favorite Rex Harrison, both supported by the delightful Peggy Cummins.
The Late George Apley supplements the emotion with a good portion of the wit Mankiewicz was so famous for. I spoke briefly on the telephone to co-star Cummins, best known...
"If I am remembered at all, it will be as the swine who rewrote Scott Fitzgerald," said Joseph L. Mankiewicz on numerous occasions, and though he does rate a mention in any Fitzgerald bio for his work revising Fitzgerald's screenplay of Three Comrades, he is also getting a sidebar retrospective, The Essential Iconoclast, at the New York Film Festival. Apart from including his several acknowledged classics, this also shines a light on some of the less celebrated movies in the distinguished Hollywood auteur's body of work.
In particular, The Late George Apley (1947) and Escape (1948) are seldom-screened dramas with suave English leading men, Ronald Colman and Mankiewicz favorite Rex Harrison, both supported by the delightful Peggy Cummins.
The Late George Apley supplements the emotion with a good portion of the wit Mankiewicz was so famous for. I spoke briefly on the telephone to co-star Cummins, best known...
- 10/9/2014
- by David Cairns
- MUBI
Mickey Spillane grabbed his position in the pop culture pantheon much like his iconic creation, private eye Mike Hammer, made his way through a case: through a sort of literary brute force, blasting away with heavy doses of graphic violence, steamy sex, and a style which reviewers often considered the prose version of a blunt object.
As a mystery writer, Spillane wasn’t as clever as Evan Hunter, nor as introspective as late career Ross MacDonald, nor did he have the insider’s street savvy of George V. Higgins, or the prose command of Raymond Chandler. Read today, some of his stuff seems so familiar and stale and excessive it borders on camp. But, whatever one’s qualitative judgment on Spillane and his canon, there’s no doubt his impact on the mystery genre – and the private eye tale in particular – was both massive and indelible, reaching beyond the printed...
As a mystery writer, Spillane wasn’t as clever as Evan Hunter, nor as introspective as late career Ross MacDonald, nor did he have the insider’s street savvy of George V. Higgins, or the prose command of Raymond Chandler. Read today, some of his stuff seems so familiar and stale and excessive it borders on camp. But, whatever one’s qualitative judgment on Spillane and his canon, there’s no doubt his impact on the mystery genre – and the private eye tale in particular – was both massive and indelible, reaching beyond the printed...
- 5/18/2012
- by Bill Mesce
- SoundOnSight
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