January 25, 2011 (XXII:2) Lloyd Bacon, 42 S (1933, 89 Min

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January 25, 2011 (XXII:2)Lloyd Bacon, 42ND STREET (1933, 89 min)Directed by Lloyd BaconDance Ensembles designed by Busby BerkeleyWritten by Rian James, James Seymour, Bradford Ropes (novel)Produced by Darryl F. ZanuckCinematography by Sol PolitoCostume Design by Orry-KellyMusic Composed by Harry WarrenLyrics by Al DubinWarner Baxter.Julian MarshBebe Daniels.Dorothy BrockGeorge Brent.Pat DenningRuby Keeler.Peggy SawyerGuy Kibbee.Abner DillonUna Merkel. Lorraine FlemingGinger Rogers.Ann 'Anytime Annie' LowellNed Sparks. BarryDick Powell. Billy LawlerNational Film Registry (1998)LLOYD BACON (December 4, 1889, San Jose, California –November 15, 1955, Burbank, California) has 130 director credits,some of which are 1954 She Couldn't Say No, 1953 The FrenchLine, 1953 Walking My Baby Back Home, 1953 The Great SiouxUprising, 1951 Call Me Mister, 1950 Kill the Umpire, 1950 TheGood Humor Man, 1949 It Happens Every Spring, 1948 Give MyRegards to Broadway, 1948 You Were Meant for Me, 1944 TheSullivans, 1943 Action, the North Atlantic, 1940 Knute Rockne AllAmerican, 1939 Espionage Agent, 1937 San Quentin, 1936 GoldDiggers of 1937, 1935 Devil Dogs of the Air, 1933 FootlightParade, 1933 Mary Stevens, M.D., 1933 42nd Street, 1932Fireman, Save My Child, 1931 Manhattan Parade, 1931 Gold DustGertie, 1930 Moby Dick, 1930 A Notorious Affair, 1930 SheCouldn't Say No, 1927 Brass Knuckles, 1926 Private Izzy Murphy,1924 Don't Fail, 1922 The Educator, and 1922 The Speeder. Healso acted, 74 films, the last of which was 1935 BroadwayGondolier and the first of which was 1914 His Taking Ways.BUSBY BERKELEY (William Berkeley Enos, 29 November 1895,Los Angeles—14 March 1976, Palm Springs, California) wasarguably the greatest choreographer in film. He invented the cameraas a character in the dance. Scott M. Keir wrote in the 1997-1998Edinburgh University Film Society program, “Berkeley was achoreographer who did not just choreograph the dancing, but alsothe cameras and the audiences, in a host of grand, outlandishmusicals. His sweeping, novel style was his hallmark, with the fineset pieces in Gold Diggers of 1933 a fine example. .Busby alwaysexperimented with unusual camera angles and editing to liven upthe proceedings. The films tried to go one better than the stagemusicals by going one bigger, with huge set pieces and opulentsurroundings. This was where many who arrived in Hollywoodseeking stardom found their dream. The set pieces of many aBerkeley musical would call for a cast of hundreds of dancing girlsin a kaleidoscopic, co-ordinated extravaganza. Gold Diggers of1933 has some of the most outlandish of these, as does one of thelater remakes, Gold Diggers of 1935 (not to mention Gold Diggersof 1937).” Before Berkeley, the choreographer or dance directorwould design the dances and train the dancers, then the film’sdirector would control the actual filming. Berkeley talked producerSam Goldwyn into letting him direct the entire dance sequences.Not only did he bring his own genius to the dances but he changedthe way they were filmed—using only one camera (which meantthe shots became part of the choreography rather than merely adocumentation of it) and doing closeups of the dancers. "Well,we've got all the beautiful girls in the picture, why not let the publicsee them?" he said. Darryl Zanuck at Warner Brothers hired him todirect the musical segments of 42nd Street 1932, after which hisstyle and position were solidly established and he and his team

Bacon—42ND STREET—2(composer Harry Warren andlyricist Al Dubin) got a 7-yearcontract. Some of Berkeley’sother films were Billy Rose'sJumbo 1962, Rose Marie 1954,Million Dollar Mermaid 1952,Call Me Mister 1951, Girl Crazy1943, The Gang's All Here 1943,Lady Be Good 1941, GoldDiggers in Paris 1938, StarsOver Broadway 1935, RomanScandals 1933, Footlight Parade1933, Girl Crazy 1932, andWhoopee! 1930. He was alsodirector of 22 films, among themTake Me Out to the Ball Game 1949, For Me and My Gal (GeneKelly’s first film) 1942, Babes in Arms 1939, and They Made Me aCriminal 1939. The famous neon violin “Shadow Waltz” sequencein Gold Diggers of 1933 had an afterlife: the song was included inthe 1970s stage version of 42nd Street on Broadway and the violinsthemselves are on display in the Warner’s Studio museum. NicoleArmour’s interesting Images article , “The Machine Art of DzigaVertov and Busby Berkeley,” is on-line rkeleyvertov.htm.RIAN JAMES (October 3, 1899, Eagle Pass, Texas – April 26, 1953,Newport Beach, California) wrote the screenplay, story or originaldialogue for 42 titles, some of which were 1947 Whispering City,1947 The Fortress, 1942 Parachute Nurse, 1942 Not a Ladies' Man,1942 This Time for Keeps, 1941 Broadway Limited, 1940Turnabout, 1939 The Gorilla, 1938 Submarine Patrol, 1935 ToBeat the Band, 1935 Redheads on Parade, 1934 The White Parade,1934 The Big Shakedown, 1933 Mary Stevens, M.D., 1933 PrivateDetective 62, 1933 42nd Street, 1933 Parachute Jumper, 1932Lawyer Man, and 1932 Love Is a Racket.JAMES SEYMOUR (April 23, 1895, Boston, Massachusetts – January29, 1976, London, England) wrote the story or script for 25 films,among them 1947 The Ghosts of Berkeley Square, 1947 Meet Me atDawn, 1943 The Saint Meets the Tiger, 1943 We'll Meet Again,1933 Footlight Parade, 1933 Gold Diggers of 1933, 1933 42ndStreet, 1932 Lawyer Man, 1930 What a Widow!, 1929 Acquitted,and 1929 Lucky, Love.DARRYL F. ZANUCK (September 5, 1902, Wahoo, Nebraska –December 22, 1979, Palm Springs, California) produced 191 films,among them 1970 Tora! Tora! Tora!, 1969 The World of Fashion,1968 D-Day Revisited, 1962 The Chapman Report, 1962 TheLongest Day, 1961 Sanctuary, 1958 The Roots of Heaven, 1958 TheBarbarian and the Geisha, 1957 The Sun Also Rises, 1957 Island,the Sun, 1956 The Man, the Gray Flannel Suit, 1954 The Egyptian,1952 The Snows of Kilimanjaro, 1952 Viva Zapata!, 1951 Davidand Bathsheba, 1950 All About Eve, 1950 No Way Out, 1950 Nightand the City , 1950 Cheaper by the Dozen, 1949 Twelve O'ClockHigh, 1949 Pinky, 1949 Thieves' Highway, 1948 The Snake Pit,1947 Gentleman's Agreement, 1947 Forever Amber, 1947Boomerang!, 1946 The Razor's Edge, 1946 Dragonwyck, 1945Leave Her to Heaven, 1944 Buffalo Bill, 1944 The Purple Heart,1944 Lifeboat, 1942 Sex Hygiene, 1941 How Green Was My Valley,1941 Sun Valley Serenade, 1941 Blood and Sand, 1941 TobaccoRoad, 1941 Western Union, 1940 Down Argentine Way, 1940Brigham Young, 1940 The Return of Frank James, 1940 Star Dust,1940 The Grapes of Wrath, 1939 Swanee River, 1939 Drums Alongthe Mohawk, 1939 Hollywood Cavalcade, 1939 The Adventures ofSherlock Holmes, 1939 Stanley and Livingstone, 1939 Young Mr.Lincoln, 1939 Rose of Washington Square, 1939 The Story ofAlexander Graham Bell, 1939 The Hound of the Baskervilles, 1939Jesse James, 1938 Little Miss Broadway, 1938 Rebecca ofSunnybrook Farm, 1937 Heidi, 1937 Wake Up and Live, 1937 WeeWillie Winkie, 1937 Nancy Steele Is Missing!, 1936 Banjo on MyKnee, 1936 White Hunter, 1936 Ramona, 1936 White Fang, 1936Under Two Flag, 1936 A Message to Garcia, 1936 The Prisoner ofShark Island, 1935 Metropolitan, 1935 Les Misérables, 1934 TheAffairs of Cellini, 1934 The House of Rothschild, 1934 MoulinRouge, 1933 The Bowery, 1933 42nd Street, 1932 20,000 Years,Sing Sing, 1932 Three on a Match, 1932 The Rich Are Always withUs, 1931 The Public Enemy, 1931 Little Caesar, and 1925 LadyWindermere's Fan. He also wrote all or a significant part of thescripts for about 80 films.SOL POLITO (November 12, 1892, Palermo, Sicily, Italy – May 23,1960, Hollywood, California) was cinematographer for 168 films,some of which were 1949 Anna Lucasta, 1948 Sorry, WrongNumber, 1947 The Voice of the Turtle, 1946 Cloak and Dagger,1945 Rhapsody, Blue, 1945 The Corn Is Green, 1944 Arsenic andOld Lace, 1944 The Adventures of Mark Twain, 1943 This Is theArmy, 1942 Now, Voyager, 1941 Sergeant York, 1940 Santa FeTrail, 1940 The Sea Hawk, 1940 Virginia City, 1939 Dodge City,1938 Angels with Dirty Faces, 1938 Gold Diggers, Paris, 1938 TheAdventures of Robin Hood, 1937 The Prince and the Pauper, 1936The Charge of the Light Brigade, 1936 The Petrified Forest, 1935,Caliente, 1935 'G' Men, 1935 The Woman, Red, 1934 Madame DuBarry, 1934 Dames, 1933 Gold Diggers of 1933, 1933 42nd Street,1932 I Am a Fugitive from a Chain Gang, 1932 Three on a Match,1932 Union Depot, 1931 Woman Hungry, 1931 The Hot Heiress,1930 Madonna of the Streets, 1930 The Girl of the Golden West,1930 No, No, Nanette, 1929 Seven Footprints to Satan, 1926 SatanTown, 1925 The Bad Lands, 1923 The Bad Man, 1919 Should aWoman Tell?, 1916 Fruits of Desire, 1915 The Sins of Society, 1915The Butterfly, 1915 M'Liss, and 1914 Rip Van Winkle.ORRY-KELLY (December 31, 1897, Kiama, New South Wales,Australia – February 27, 1964, Hollywood, California) won threeAcademy Awards for Costume Design: 1951 (An American, Paris),1957 (Les Girls), and 1959 (Some Like It Hot). Orry-Kelly didcostumes for 289 other films, some of which were 1963 Irma laDouce, 1962 Gypsy, 1962 The Chapman Report, 1962 Five FingerExercise, 1962 Sweet Bird of Youth, 1958 Auntie Mame, 1955Oklahoma!, 1950 Harvey, 1948 For the Love of Mary, 1948 OneTouch of Venus, 1947 Mother Wore Tights, 1947 The ShockingMiss Pilgrim, 1945 The Dolly Sisters, 1945 The Corn Is Green,1944 Arsenic and Old Lace, 1944 Mr. Skeffington, 1944 TheAdventures of Mark Twain, 1943 Watch on the Rhine, 1943 This Isthe Army, 1942 Casablanca, 1942 Now, Voyager, 1942, This OurLife, 1942 Murder, the Big House, 1942 Kings Row, 1942 The ManWho Came to Dinner, 1941 The Maltese Falcon, 1941 The LittleFoxes, 1941 The Strawberry Blonde, 1940 All This, and HeavenToo, 1940 Virginia City, 1939 Essex and Elizabeth, 1939 DarkVictory, 1938 Angels with Dirty Faces, 1938 Jezebel, 1937 KidGalahad, 1936 Gold Diggers of 1937, 1936 Jailbreak, 1936 SatanMet a Lady, 1936 The Petrified Forest, 1935 We're in the Money,

Bacon—42ND STREET—31935 Oil for the Lamps of China, 1935, Caliente, 1935 GoldDiggers of 1935, 1935 Devil Dogs of the Air, 1934 Babbitt, 1934Madame Du Barry, 1934 Dames, 1934 Here Comes the Navy, 1934Fog Over Frisco, 1934 Merry Wives of Reno, 1934 Mandalay, 1933Lady Killer, 1933 Mary Stevens, M.D., 1933 Baby Face, 1933Private Detective 62, 1933 Gold Diggers of 1933, 1933 42nd Street,1932 20,000 Years, Sing Sing, 1932 I Am a Fugitive from a ChainGang, and 1932 The Rich Are Always with Us.HARRY WARREN (December 24, 1893, Brooklyn, New York City,New York – September 22, 1981, Los Angeles, California) wonthree Best Music, Original Song Oscars: 1936 Gold Diggers of1935 (shared Oscar w. Al Dubin [lyrics] for “Lullaby ofBroadway”), 1943 Hello Frisco, Hello (shared w. Mack Gordon[lyrics] for “You’ll Never Know”), and 1952 Just for You (sharedw. Johnny Mercer [lyrics] for “On the Atchison, Topeka, and SantaFe.” His songs have been used, thousands of films and tv programs.Some of his best known compositions, often with lyrics by AlDubin, are "The Gold Diggers' Song We’re in the Money," "Lullabyof Broadway," "Jeepers Creepers," "Chattanooga Choo Choo," "TheMore I See You," "Shuffle Off to Buffalo," "Forty-Second Street,""There Will Never Be Another You," "September, the Rain," "IFound a Million Dollar Baby in a Five and Ten Cent Store," "ILove My Baby My Baby Loves Me," "Serenade, Blue," "You MustHave Been a Beautiful Baby," "Lulu's Back, Town," "I Only HaveEyes for You," "On the Atchison, Topeka and the Santa Fe," and"We’re in the Money."AL DUBIN (June 10, 1891, Zurich, Switzerland – February 11, 1945,New York City, New York) wrote the lyrics for many Broadwaystandards, some of which are "I Only Have Eyes for You,""Lullaby of Broadway," "Forty-Second Street," "You're Getting toBe a Habit with Me," "The Boulevard of Broken Dreams,", "TheGold Diggers' Song We’re in the Money," "Shuffle Off to Buffalo,"and "Tip-Toe thru' the Tulips with Me."WARNER BAXTER. Julian Marsh (March 29, 1889, Columbus,Ohio – May 7, 1951, Beverly Hills, California) won a Best ActorOscar, 1928 for, Old Arizona. He was in 108 films, some of whichwere 1950 State Penitentiary, 1949 Prison Warden, 1949 TheCrime Doctor's Diary, 1947 Crime Doctor's Gamble, 1946 CrimeDoctor's Man Hunt, 1945 Crime Doctor's Warning, 1945 TheCrime Doctor's Courage, 1943 Crime Doctor's Strangest Case,1943 Crime Doctor, 1939 Return of the Cisco Kid, 1938Kidnapped, 1937 Slave Ship, 1936 White Hunter, 1936 ThePrisoner of Shark Island, 1934 Broadway Bill, 1933 Penthouse,1933 42nd Street, 1932 6 Hours to Live, 1931 The Cisco Kid, 1931The Squaw Man, 1931 Daddy Long Legs, 1931 Doctors' Wives,1929 Behind That Curtain, 1928, Old Arizona, 1928 Ramona, 1926The Great Gatsby, 1926 Miss Brewster's Millions, 1925 The AirMail, 1924 The Female, 1924 Alimony, and 1922 The Girl, HisRoom.BEBE DANIELS. Dorothy Brock (January 14, 1901, Dallas, Texas– March 16, 1971, London, England) appeared in 232 films and TVseries, among them 1955-1960 “Life With the Lyons”, 1936Treachery on the High Seas, 1935 Music Is Magic, 1934 RegisteredNurse, 1933 Counsellor at Law, 1933 42nd Street, 1931 Honor ofthe Family, 1931 The Maltese Falcon, 1929 Rio Rita, 1928 TheFifty-Fifty Girl, 1927 A Kiss, a Taxi, 1926 Volcano, 1926 MissBrewster's Millions, 1923 The Exciters, 1920 Why Change YourWife?, 1919 Male and Female, 1919 I'm on My Way, 1918 Brideand Gloom, 1910 The Wonderful Wizard of Oz, and 1910 TheCourtship of Miles Standish And here are all the short films sheappeared in in 1916, which was typical for her, those years: 1916Luke's Shattered Sleep, 1916 Luke Locates the Loot, 1916 Luke'sFireworks Fizzle, 1916 Luke, Rank Impersonator, 1916 Luke'sMovie Muddle, 1916 Luke's Newsie Knockout, 1916 Luke, PatientProvider, 1916 Luke, the Gladiator, 1916 Luke's PreparednessPreparations, 1916 Luke, the Chauffeur, 1916 Luke and the BangTails, 1916 Luke's Speedy Club Life, 1916 Luke and the Mermaids,1916 Luke Joins the Navy, 1916 Luke Does the Midway, 1916Luke's Lost Lamb, 1916 Luke, Crystal Gazer, 1916 Luke RidesRoughshod, 1916 Luke's Washful Waiting, 1916 Luke's SocietyMixup, 1916 Luke's Fatal Flivver, 1916 Luke Laughs Last, 1916Luke's Late Lunchers, 1916 Luke and the Bomb Throwers, 1916Them Was the Happy Days!, 1916 Luke's Double, 1916 LonesomeLuke, Circus King, 1916 The Flirt, 1916 Luke Pipes the Pippins,1916 Luke and the Rural Roughnecks, 1916 Luke Foils the Villain,1916 Luke, the Candy Cut-Up, 1916 Lonesome Luke Lolls, Luxury,1916 Luke Lugs Luggage, and 1916 Lonesome Luke Leans to theLiterary.GEORGE BRENT. Pat Denning (March 15, 1899, Shannonbridge,Offaly, Ireland – May 26, 1979, Solana Beach, California) appearedin 104 films and TV series, among them 1978 Born Again, 1959“Rawhide”, 1956 “Celebrity Playhouse”, 1955 “Science FictionTheatre”, 1953 “The Revlon Mirror Theater”, 1953 MexicanManhunt, 1953 Tangier Incident, 1952 Man Bait, 1951 FBI Girl,1947 Slave Girl, 1946 Temptation, 1945 The Spiral Staircase, 1945The Affairs of Susan, 1942, This Our Life, 1940 South of Suez, 1940The Man Who Talked Too Much, 1940 The Fighting 69th, 1939 TheRains Came, 1939 Dark Victory, 1937 Submarine D-1, 1935Special Agent, 1934 Desirable, 1933 Female, 1933 Baby Face,1933 42nd Street, 1932 So Big!, 1931 Charlie Chan Carries On,and 1924 The Iron Horse.RUBY KEELER.Peggy Sawyer (August 25, 1910, Halifax, NovaScotia, Canada – February 28, 1993, Rancho Mirage, California)was in only 15 films, some of which were 1964 “The Greatest Showon Earth”, 1937 Ready, Willing and Able, 1935 Go Into YourDance, 1934 Flirtation Walk, 1934 Dames, 1933 Footlight Parade,1933 Gold Diggers of 1933,and 1933 42nd Street. She had a longcareer on Broadway and was, from 1928 through 1940, married tosinger Al Jolson.GUY KIBBEE.Abner Dillon (March 6, 1882, El Paso, Texas –May 24, 1956, East Islip, Long Island, New York) appeared in113films, some of which were 1948 3 Godfathers, 1948 Fort Apache,1946 Gentleman Joe Palooka, 1945 The Horn Blows at Midnight,1943 Girl Crazy, 1942 Scattergood Rides High, 1941 Design forScandal, 1941 It Started with Eve, 1941 Scattergood MeetsBroadway, 1941 Scattergood Pulls the Strings, 1941 ScattergoodBaines, 1940 Chad Hanna, 1940 Our Town, 1939 Mr. Smith Goesto Washington, 1938 Three Comrades, 1936 Three Men on a Horse,1936 Little Lord Fauntleroy, 1935 Captain Blood, 1934 Babbitt,1934 Dames, 1933 Footlight Parade, 1933 Gold Diggers of 1933,1933 42nd Street, 1932 The Conquerors, 1932 Rain, 1932 TheMouthpiece, 1932 So Big!, 1932 Union Depot, 1931 LaughingSinners, 1931 City Streets, and 1931 Stolen Heaven.

Bacon—42ND STREET—4UNA MERKEL.Lorraine Fleming (December 10, 1903,Covington, Kentucky, USA – January 2, 1986, Los Angeles,California) was in 114 films and TV series, some of which were1963-1965 “Burke's Law”, 1961 Summer and Smoke, 1959 TheMating Game, 1958 “The United States Steel Hour”, 1957“Climax!”, 1957 “Playhouse 90”, 1956 Bundle of Joy, 1956 TheKettles, the Ozarks, 1952 “Four Star Playhouse”, 1952 The MerryWidow, 1952 With a Song, My Heart, 1950 My Blue Heaven, 1940The Bank Dick, 1939 Destry Rides Again, 1939 Four Girls, White,1937 Saratoga, 1937 Don't Tell the Wife, 1936 Speed, 1935Broadway Melody of 1936, 1934 The Merry Widow, 1934 BulldogDrummond Strikes Back, 1933 Reunion, Vienna, 1933 42nd Street,1933 Whistling, the Dark, 1932 Red-Headed Woman, 1931 Wicked,1931 The Maltese Falcon, 1930 The Eyes of the World, and 1930Abraham Lincoln.GINGER ROGERS.Ann 'Anytime Annie' Lowell(July 16, 1911, Independence, Missouri – April 25, 1995, RanchoMirage, California) won a Best Actress Oscar, 1940 for Kitty Foyle:The Natural History of a Woman. She appeared, 89 other films andTV series, some of which were 1987 “Hotel”, 1965 Harlow, 19631964 The Red Skelton Hour”, 1964 The Confession, 1960 “ZaneGrey Theater”, 1954 Black Widow, 1954 Forever Female, 1951Storm Warning, 1949 The Barkleys of Broadway, 1947 It Had to BeYou, 1944 I'll Be Seeing You, 1942 The Major and the Minor, 1942Roxie Hart, 1941 Tom Dick and Harry, 1940 Kitty Foyle: TheNatural History of a Woman, 1939 The Story of Vernon and IreneCastle, 1935 Top Hat, 1935 Roberta, 1934 The Gay Divorcee, 1934Upperworld, 1933 Flying Down to Rio, 1933 Sitting Pretty, 1933Gold Diggers of 1933, 1933 42nd Street, 1933 Broadway Bad, 1932The Tenderfoot, 1930 Queen High, and 1929 A Day of a Man ofAffairs.NED SPARKS.Barry (November 19, 1883, Guelph, Ontario,Canada – April 3, 1957, Victorville, California) appeared in 86films, some of which were 1947 Magic Town, 1941 For Beauty'sSake, 1939 The Star Maker, 1936 One, a Million, 1935 GeorgeWhite's 1935 Scandals, 1934 Sweet Adeline, 1934 Imitation of Life,1934 Sing and Like It, 1933 Alice, Wonderland, 1933 Gold Diggersof 1933, 1933 Secrets, 1933 42nd Street, 1931 Corsair, 1931 IronMan, 1928 On to Reno, 1927 Alias the Lone Wolf, 1927 Alias theDeacon, 1925 Seven Keys to Baldpate, 1920 Nothing But the Truth,and 1915 The Little Miss Brown.DICK POWELL.Billy Lawler (November 14, 1904, MountainView, Arkansas – January 2, 1963, West Los Angeles, California)appeared in 69 films and TV series, some of which were 1962 “TheDick Powell Theatre”, 1961 “The Law and Mr. Jones”, 1957-1961“Zane Grey Theater”, 1952-1956 “Four Star Playhouse”, 1954“Climax!”, 1952 The Bad and the Beautiful, 1951 Cry Danger,1950 The Reformer and the Redhead, 1948 To the Ends of theEarth, 1947 Johnny O'Clock, 1944 Murder, My Sweet, 1943 True toLife, 1938 Cowboy from Brooklyn, 1937 The Singing Marine, 1935A Midsummer Night's Dream, 1935 Gold Diggers of 1935, 1934Dames, 1933 Footlight Parade, 1933 Gold Diggers of 1933, 193342nd Street, 1932 Too Busy to Work, and 1932 Blessed Event.Lloyd Bacon (from IMdB)As one of the work horses in Warner Brothers stable of 1930sdirectors, Lloyd Bacon's career isn't comparatively loaded withclassic films as many of his more famous contemporaries. What fewhe had his hand in (42nd Street 1933, and Footlight Parade 1933)are so overshadowed by the dazzling surrealistic choreography ofBusby Berkeley to the extent that casual film buffs today oftenforget they were directed by him. While his resume lacks the dramaof failed productions and tales of an unbridled ego, he consistentlyenriched the studio's coffers, directing a handful of their biggest hitsof the late 1920s and 30s. Lloyd Bacon's career amounts to that of acompetent -- at times brilliant -- director who did the best with thematerial handed to him in assembly line fashion. Lloyd Bacon wasborn in San Jose, California on January 16, 1890 into a theatricalfamily (his father was Frank Bacon, a playwright and legitimateactor). His parents enlisted all the Bacon children onto the stage.Despite having a strong interest in law as a student at Santa ClaraCollege, Lloyd opted for an acting career after appearing in astudent production of "The Passion Play." In 1911 he joined DavidBelasco's Los Angeles Stock Company (with fellow actor LewisStone), touring thecountry and gaining goodnotices in a Broadwayrun of the hit, "CinderellaMan" and gaining furtherexperience during aseason of vaudeville.Lloyd switched gears in1915 and took a stab atsilent Hollywood,playing the heavy in'Gilbert M. 'BronchoBilly' Anderson' shortsand pulling duty as astunt double. WithAmerica's entry intoWWI in 1917, Lloyd enlisted in the Navy and was assigned to thePhoto Department. This began a lifelong admiration for the serviceand might explain the Navy being a favorite reoccurring theme inmany of his films.After the Armistice, Lloyd moved from Mutual (CharlesChaplin's studio at the time) to Triangle as a comedy actor. It was atthis point that he got his first taste of directing -- Bacon had leteveryone at the studio know he had an interest in helming a pictureand when the director of a now forgotten Lloyd Hamilton comedyshort fell ill, he was given his chance. Constantly moving, Baconjoined tightwad producer Mack Sennett as a gag writer, who,sensing a bargain, happily accommodated Lloyd's desire to becomea full time director by early 1921. The Sennett studio was already inan irreversible decline during Bacon's tenure there but it allowed thenovice director to gain a wealth of experience. He apprenticed forSennett until joining Warner Brothers in 1925, an association thatwould last a remarkable 18 years and begin when the workingman's studio was building a strong stable of contract directors thatincluded Michael Curtiz, Alan Crosland, John G. Adolfi andMervyn LeRoy.Although Lloyd never became known for a particular styleother than a well-placed close up, his ability to bring an entertainingfilm in on time and within budget earned him such enormousrespect from five Warner Brothers that he was soon handed controlover important projects, including The Singing Fool (1928), an AlJolson follow up to The Jazz Singer (1927) which grossed anunheard of (for Warner's at least) 4,000,000 in domestic receiptsalone — the studio's #1 hit for 1928. Bacon was rewarded bybecoming the highest paid director on the studio's payroll, earning

Bacon—42ND STREET—5over 200,000.00 a year throughout the Depression. He was calledupon to direct their big budget production of Moby Dick (1930)which gained good notices, but it's a version that's barelyremembered today.The 1930s saw Bacon assigned to the assembly line; asidefrom the 'Busby Berkeley' choreographed films, he directed manyof James Cagney's crowd pleasing 2-week wonders, includingPicture Snatcher (1933), and The Irish in Us (1935), occasionallybeing afforded more time and money on productions such as, HereComes the Navy (1934), and Devil Dogs of the Air (1935). He alsodirected Cagney's return effort, miscast in the frenetic Boy MeetsGirl (1938) after the actor's ill-advised move to Grand Nationalwhile engaging in a legal war with Jack L. Warner. This was one ofCagney's least critically popular Warner Brothers films of 1930s,but a smash hit for the studio.During his years at Warner's, Bacon gained a reputation asa clothes horse, the dapperdirector, arriving on the setdressed to the nines, wearingexpensive hats, that he wouldtoss around the set whenexpressing his dissatisfaction (heruined a lot of hats) at an actor'sperformance or missed cue.Bacon continued to grind outprofitable films for the studiountil moving to 20th Century Foxfrom 1944-49 (a logical move,since the recently dischargedDarryl F. Zanuck knew Baconfrom his early days at Warner's),then bounced between Columbia,Fox, Universal and thechaotically-ran RKO in 1954.Lloyd worked virtually until hisdeath from a cerebral hemorrhageat age 65.Berkeley’s main contribution to the film musical was thestaging of dances especially for the camera, using all the cinematicresources at his command. He is famous for the moving camera(which roved through, around, under, and over his dancers ratherthan remaining fixed in one position), and is particularly known forthe overhead shot in which the camera peers down at the dancers asthey form everchanging patterns. Using dancers as elements in anabstract design to create his effects rather than as individuals whoperform dance routines is one of his trademarks .The musical numbers in 42nd Street are not as opulent ordazzling as those in later Berkeley films, but their comparativerestraint and their vitality more than compensate for that.The film musical was never quite the same after 42ndStreet. It confirmed the emergence of a major new talent—BusbyBerkeley—and the emergence of the musical as a new art form. Itwas one of the top-grossing films of the year and is credited withrescuing Warner Bros. frombankruptcy.“42nd Street” Magill’s American Film Guide. V.2. Salem Press,Englewood Hills, N.J., 1980. Entry by Julia Johnson.In 1933, Warner Bros. released three important musicalswhich revitalized the moribund film musical and renewed itspopularity with the moviegoing public. The films are notable fortheir vitality, their originality in presenting musical numbers onfilm, and the emergence of a major new talent in the world of thefilm musical—Busby Berkeley. The first of these, 42nd Street, is thequintessential backstage musical. The familiar story of putting on aplay, with the star breaking her ankle at the last minute and theyoung unknown stepping in to save the show, has been done manytimes, but seldom with such zest and verve.Under Lloyd Bacon’s skillful direction that catches all thebustle and excitement of the backstage atmosphere, a group ofengaging performers made their niche in film history secure—Ginger Rogers as a shrewd chorus girl; Warner Baxter as thetyrannical director of the show; Bebe Daniels as the unhappy starwho breaks her ankle just before opening night, giving Ruby Keeler(in her screen debut) her big chance; and the baby-faced, mellowvoiced Dick Powell, whose screen presence seemed tailored to fitWarner Bros. musicals. But the biggest star, and possibly the mosttalented, was Busby Berkeley, the man behind the cameras whoconceived, staged, and directed the musical numbers.If the movie version of 42nd Street had been as frank and asgritty as the novel, it would have been a genuine first for AmericanMusicals. The novel is too busy and certainly some of thesubplots could have been omitted. Yet a daring, but honest, moviebased on the novel could have been made back in those days, beforeMae West awakened the censors with her second film, She DoneHim Wrong, and with such lines as “Are you packin’ a rod or areyou just glad to see me?” Official censorship first came to Hollywood in 1922, aftera series of scandals that made the headlines and brought the filmbusiness to the attention of the U.S. Congress. To avoid federalcensorship, the film industry decided to be its own watchdog. As itswhite knight and master, the industry chose Will H. Hays to bepresident of the Motion Picture Producers and Distributors ofAmerica, which came to be known as the Hays Office. Haysseemed the perfect choice. He was a Presbyterian elder, he waspostmaster general of the United States, he had been PresidentHarding’s campaign manager, and he was a non-smoker, ateetotaler, and a conservative small-town boy from the conservativestate of Indiana. The Hays Office’s first list of thou-shalt-nots waspublished in 1927; in 1930 the list was recast into what came to beknown as the Production Code. But the Hays Office did little toenforce its Code until, in 1934, it was forced to do so by a public42nd Street. Edited with anintroduction by RoccoFumento. Published for theWisconsin Center for Film andTheater Research by TheUniversity of Wisconsin Press.Madison, Wisconsin, 1980.Tino Balio, General Editor: “Ourgoal in publishing these WarnerBrothers screenplays is toexplicate the art of screenwritingduring the thirties and forties, theso-called Golden Age ofHollywood.”Introduction From Bastards andBitches to Heroes and HeroinesRocco Fumento

Bacon—42ND STREET—6outcry, spearheaded by the newly formed Catholic Legion ofDecency, against excessive violence and sex in films. Joseph Breen,a Catholic layman, was hired by the Hays Office to be the sternenforcer of the Code.But there was no Breen when 42nd Street was made andreleased. In such films as RedDust, A Free Soul, Rain, LittleCaesar. The Public Enemy, andScarface, Hollywood did not shyaway from either sex or violence.Like the prostitute with the heartof Gild,42nd Street is tough onthe outside and soft on the inside.It is a good film that could havebeen better if Warners had daredto stick more closely to BradfordRopes’s novel.Not that the Ropes novelis a great novel. It is, in fact, abad one. The characters are eitherstereotypes (Dorothy Brock, theaging bitchy Broadway star) orcaricatures (Mrs. Blair, thestridently ambitious backstagemother) or merely flat .The novel comes aliveonly in the hard-as-nails, offcolor, often amusingwisecracks .None of thesewisecracks is in the film. Just onesuch line from the novel isrecognizable in the film. Agossipy, homosexual chorus boysays, “Sophie only said no oncean’ then she didn’t underst

Beat the Band, 1935 Redheads on Parade, 1934 The White Parade, 1934 The Big Shakedown, 1933 Mary Stevens, M.D., 1933 Private Detective 62, 1933 42nd Street, 1933 Parachute Jumper, 1932 Lawyer Man, and 1932 Love Is a Racket. JAMES

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CONTENTS PREFACE Preface xxi AboutThisGuide xxi Audience xxii RelatedDocumentation xxii Conventions xxii Communications,Services,andAdditionalInformation xxiii CiscoProductSecurity xxiv Organization xxiv CHAPTER 1 New and Changed Information 1 NewandChangedInformation 1 CHAPTER 2 Administration Overview 3 CiscoUnifiedReal-TimeMonitoringTool 3 OperatingSystemSupport 4 CHAPTER 3 Getting Started 5

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VOLUME XXII, NO. 3 KINGSVILLE, TEXAS 78363 AUG. 25, 2021 Page 1 Covering Javelina Athletics Weekly Since 2000 Darrell Green, former Javelina football player who is a member of the Pro Football Hall of Fame, spoke to the Javelina football team

Dom Benedict Nivakoff, O.S.B. Prior I VIA CASE SPARSE, 164 06046 NORCIA (PG) ITALY . EASTER 2021 ANNO XXII, N.2 . mysterious arrangement of Providence, he became the noble guardian of the Son of God and His Mother, participating in the redemption of God's own people by exercising true paternity over the .

Volume XXII No. 44 Hometown Newspaper for Glen Cove, Sea Cliff, Glen Head, Glenwood, Locust Valley and Brookville Week of 7/4/13 75C Community Mourns George T. Doran By Carol Griffin Sea Cliff Fire Department held its annual inspection on June 8 at the fire-house. As expected there was a good turnout by the members of the depart-

Ashley Harris 2010 Blake Hartsook 2010 Denira Hasanovic 2010 Ella Heinicke 2010 Amber Heller 2010 . Ryan Coulson 2011 Dellanie Couture 2011 Emily Coy 2011 Allison Crist 2011 Kerrigan Crotts 2011 . Alexandra Hawks 2011 Trevor Heglin 2011 Marisa Heisterkamp 2011 Brett Heitkamp 2011 Caleb Helscher 2011

Miller Place, NY 11764 Email: BOE@millerplace.k12.ny.us Schedule of Business Meetings for 2010-2011 School Year September 22, 2010 October 27, 2010 November 17, 2010 December 22, 2010 January 26, 2011 February 16, 2011 March 30, 2011 April 27, 2011 May 18, 2011 June 22, 2011 July 5, 2011 *OTHER MEETINGS WILL BE SCHEDULED AND POSTED AS NEEDED .