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Wonder Bar
''Wonder Bar'' is a 1934 American pre-Code film adaptation of a Broadway musical of the same name directed by Lloyd Bacon with musical numbers created by Busby Berkeley. It stars Al Jolson, Kay Francis, Dolores del Río, Ricardo Cortez, Dick Powell, Guy Kibbee, Ruth Donnelly, Hugh Herbert, Louise Fazenda, Fifi D'Orsay, Merna Kennedy, Henry O'Neill, Robert Barrat, Henry Kolker, and Spencer Charters in the main roles. For its time, ''Wonder Bar'' was considered risqué, barely passing the censors at the Hays Office. The title is a pun on "wunderbar," which is German for "wonderful." Plot ''Wonder Bar'' is set in a Parisian nightclub, with the stars playing the 'regulars' at the club. The movie revolves around two main story points, a romance and a more serious conflict with death, and several minor plots. All of the stories are enlivened from time to time by extravagant musical numbers. The more serious story revolves around Captain Von Ferring (Robert Barrat), a German ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lloyd Bacon
Lloyd Francis Bacon (December 4, 1889 – November 15, 1955) was an American screen, stage and vaudeville actor and film director. As a director he made films in virtually all genres, including westerns, musicals, comedies, gangster films, and crime dramas. He was one of the directors at Warner Bros. in the 1930s who helped give that studio its reputation for gritty, fast-paced "torn from the headlines" action films. And, in directing Warner Bros.' '' 42nd Street'', he joined the movie's song-and-dance-number director, Busby Berkeley, in contributing to "an instant and enduring classic hattransformed the musical genre." Early life Lloyd Bacon was born on December 4, 1889 in San Jose, California, the son of actor/playwright Frank Bacon - the co-author and star of the long-running Broadway show Lightnin' (1918) - and Jennie Weidman. Lloyd Bacon was not, contrary to some accounts, related to actor Irving Bacon, although he did direct him in a number of his films. Bacon attended ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pre-Code Hollywood
Pre-Code Hollywood was the brief era in the American film industry between the widespread adoption of sound in film in 1929LaSalle (2002), p. 1. and the enforcement of the Motion Picture Production Code censorship guidelines, popularly known as the "Hays Code", in mid-1934. Although the Code was adopted in 1930, oversight was poor, and it did not become rigorously enforced until July 1, 1934, with the establishment of the Production Code Administration (PCA). Before that date, film content was restricted more by local laws, negotiations between the Studio Relations Committee (SRC) and the major studios, and popular opinion, than by strict adherence to the Hays Code, which was often ignored by Hollywood filmmakers. As a result, some films in the late 1920s and early 1930s depicted or implied sexual innuendo, romantic and sexual relationships between white and black people, mild profanity, illegal drug use, promiscuity, prostitution, infidelity, abortion, intense violence ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minstrel Show
The minstrel show, also called minstrelsy, was an American form of racist theatrical entertainment developed in the early 19th century. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent. The shows were performed by mostly white people wearing blackface make-up for the purpose of playing the role of black people. There were also some African-American performers and black-only minstrel groups that formed and toured. Minstrel shows caricatured black people as dim-witted, lazy, buffoonish, superstitious, and happy-go-lucky.The Coon Character , Jim Crow Museum of Racist Memorabilia, Ferris State University. Retrieved 29 January 2016.John Kenrick < ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blackface
Blackface is a form of theatrical makeup used predominantly by non-Black people, Black people to portray a caricature of a Black person. In the United States, the practice became common during the 19th century and contributed to the spread of Ethnic stereotype, racial stereotypes such as the "happy-go-lucky List of ethnic slurs#D, darky on the plantation" or the "dandy, dandified List of ethnic slurs#Coon, coon". By the middle of the century, blackface minstrel shows had become a distinctive American artform, translating formal works such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the minstrel show and became a form in its own right. In the United States, blackface declined in popularity beginning in the 1940s and into the civil rights movement of the 1950s and 1960s,Clark, Alexis.How the History of Blackface Is Rooted in Racism. ''History''. A&E Television Networks, LLC. 2019. and was generally considered highly of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hays Office
The Motion Picture Production Code was a set of industry guidelines for the self-censorship of content that was applied to most motion pictures released by major studios in the United States from 1934 to 1968. It is also popularly known as the Hays Code, after Will H. Hays, president of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 to 1945. Under Hays's leadership, the MPPDA, later the Motion Picture Association of America (MPAA) and the Motion Picture Association (MPA), adopted the Production Code in 1930 and began rigidly enforcing it in 1934. The Production Code spelled out acceptable and unacceptable content for motion pictures produced for a public audience in the United States. From 1934 to 1954, the code was closely identified with Joseph Breen, the administrator appointed by Hays to enforce the code in Hollywood. The film industry followed the guidelines set by the code well into the late 1950s, but it began to weaken, owing to the combined ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spencer Charters
Spencer Charters (March 25, 1875 – January 25, 1943) was an American film actor. He appeared in more than 220 films between 1920 and 1943, mostly in small supporting roles. Biography Charters was born in Duncannon, Pennsylvania. Until around 1890 he worked as a machinist for the Chesapeake Nail Works in Harrisburg, Pennsylvania, and had little interest in acting. He soon appeared on stage after leaving school with a walk-on part, but it wasn't long before he was being given fair-sized roles. He played on Broadway between 1910 and 1929 and was a busy character actor in films during the 1930s and early 1940s. He often portrayed somewhat befuddled judges, doctors, clerks, managers, and jailers. Charters was married to actress Irene Myers until her death December 22, 1941. He died by suicide from a mix of sleeping pills and carbon monoxide poisoning. He is buried in Forest Lawn Memorial Park, Glendale, California Glendale is a city in the San Fernando Valley and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henry Kolker
Joseph Henry Kolker (November 13, 1874 ome sources 1870– July 15, 1947) was an American stage and film actor and director. Early years Kolker was born in Quincy, Illinois. Career Kolker, like fellow actors Richard Bennett and Robert Warwick, had a substantial stage career before entering silent films. He began acting professionally in stock theater in 1895. On stage he appeared opposite actresses such as Edith Wynne Matthison, Bertha Kalich and Ruth Chatterton. Kolker began acting in films in 1915. He is best remembered for his movie roles, including one in the ground-breaking Pre-Code film '' Baby Face'' (1933) as an elderly CEO. Another well-remembered part is as Mr. Seton, father of Katharine Hepburn and Lew Ayres in the 1938 film ''Holiday'' directed by George Cukor. Kolker entered films as an actor in 1915 and eventually tried his hand at directing. Kolker's best-known directorial effort is '' Disraeli'' (1921), starring George Arliss which is now a lost f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Barrat
Robert Harriot Barrat (July 10, 1891 – January 7, 1970) was an American stage, motion picture, and television character actor. Early years Barratt was born on July 10, 1891, in New York City and was educated in the public schools there. He left college and home during his sophomore year, traveling on a tramp steamer to Central America, England, France, and South America. After he returned to the United States, he worked for two years on his brother's farm near Springfield, Massachusetts, until he learned of an opening in the chorus for a musical comedy. Career Early in his career, Barrat traveled around the United States, sometimes acting with stock theater companies and sometimes performing in vaudeville on the Keith and Orpheum circuits. Returning to New York City, he had a role in ''The Weavers'' at the Garden Theatre. Barrat acted on Broadway, where his credits include ''Lilly Turner'' (1932), ''Bulls, Bears and Asses'' (1931), ''This Is New York'' (1930), ''Judas'' ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henry O'Neill
Henry O'Neill (August 10, 1891 – May 18, 1961) was an American film actor known for playing gray-haired fathers, lawyers, and similarly dignified roles during the 1930s and 1940s. Early years He was born in Orange, New Jersey. Career O'Neill began his acting career on the stage, after dropping out of college to join a traveling theatre company. He served in the Navy in World War I, after which he worked at several jobs, including being an usher in a funeral home. Eventually, he returned to the stage. His Broadway debut came in ''The Spring'' (1921), and his final Broadway appearance was in ''Shooting Star'' (1933). He also acted with the Provincetown Players and the Celtic Players. In the early 1930s he began appearing in films, including '' The Big Shakedown'' (1934), the Western '' Santa Fe Trail'' (1940), the musical '' Anchors Aweigh'' (1945), '' The Green Years'' (1946), and '' The Reckless Moment'' (1949). His last film was '' The Wings of Eagles'' (1957), s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Merna Kennedy
Merna Kennedy (born Maude Kahler; September 7, 1908 – December 20, 1944) was an American actress of the late silent era and the transitional period into talkies. Career She was born in Kankakee, one of two children to Maud (''née'' Reed) and John Kahler, a German-American butcher turned chiropractor. After her parents separated, her mother moved the family to California, where she married a grocer two years later, and changed their name to Kennedy. At the outbreak of World War I, their mother prepped seven-year-old Merna and brother Melvin (known as Merle) to tour as a dancing and singing sibling act on the Orpheum and Pantages theater circuits of vaudeville, where she became acquainted with Lita Grey. Merle broke his leg ending the duo, prompting Grey to suggest silent films to Merna. Kennedy was best known during her brief career for her role opposite Charlie Chaplin in the silent film '' The Circus'' (1928), a role for which she was brought to the attention of Chaplin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fifi D'Orsay
Fifi D'Orsay (born Marie-Rose Angelina Yvonne Lussier; April 16, 1904 – December 2, 1983) was a Canadian-American actress and singer. Early life Fifi D'Orsay was born Yvonne Lussier in Montreal, Quebec, Canada, to a father who was a postal clerk. The D'Orsays were a large family, with Fifi having 11 siblings. She was educated at the Academy of the Sacred Heart in Montreal before graduating and finding work as a secretary. Biography As a young stenographer, she wished to become an actress, and moved to New York City. Once there she found work with the Greenwich Village Follies, after an audition in which she sang " Yes! We Have No Bananas" in French. When asked where she was from, she told the director she was from Paris, France, and that she had worked in the Folies Bergère. The impressed director hired her, billing her as "Mademoiselle Fifi". While working in the Follies, she became involved with Ed Gallagher, a veteran actor who was half of the successful Broadway comed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louise Fazenda
Louise Fazenda (June 17, 1895 – April 17, 1962) was an American film actress, appearing chiefly in silent comedy films. Early life Fazenda was born in her maternal grandparents' house in Lafayette, Indiana, the daughter of merchandise broker Joseph A. Fazenda, who was born in Mexico, and Nelda T. Schilling Fazenda, a Chicago native. She was of Portuguese, French, and Italian descent on her father's side and of German descent on her mother's. The Fazenda family relocated to California, where Joseph Fazenda opened up a grocery store. Louise attended Los Angeles High School and St. Mary's Convent and kept busy with a number of after-school jobs, one of which was delivering groceries for the family business via a horse-drawn wagon. Career Fazenda was discovered by a scout employed by Mack Sennett in a high school comedy show. She made her first film in 1913. She was best known as a character actor in silent films, playing roles such as a fussy old maid and a blacksmith. She ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
