To the entertainment of the people, the 5thannual B--- Film Festival Leona's Empathy, hasjust been announced.
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But there was a whole other market, the so-called B film market, and those were made by smaller companies, many of which did not own their own studios, but used rental studios to produce their work.
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"We'll Always Have Casablanca" was written by Noah Isenberg, the director of screen studies at the New School, and probably best known for a biography of Edgar G. Ulmer, a B-film director much beloved by cineastes.
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This is Pitt's third premiere in the last few months, stepping out in support of another Plan B film Lost City of Z in L.A. and most recently in New York for the premiere of his Netflix movie War Machine.
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Advertise on Hyperallergic with Nectar Ads "Until Gun Crazy I'd played pretty blonde types, so I loved the idea of this character," Welsh born Irish actress Peggy Cummins was quoted saying in The Guardian, in 2017 (the year of her death), about her role in the American B-film by Joseph H. Lewis.
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Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 267–68.
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Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 286–88.
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The thriller was one of the Butcher's Film Service's 1950s B film genre. Chibnall and McFarlane 2009, p. 67.
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The film historians Steve Chibnall and Brian McFarlane praised Kennedy's performance and said of Impulse: "This detailed and un-showy study of a man tempted away from a comfortable but dull rut is one of the subtlest to be found in the 'B' film ranks."Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 181.
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They especially praised the performances of Lohr, Handl and Harker.Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 272–73.
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Jet Job was a B film; TV Guide felt the film "... barely gets off the ground.""Jet Job (1952)." TV Guide. Retrieved: October 31, 2014.
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Leonard Maltin described it as a "Harmless B film about Anglo-American agents rescuing a kidnapped Arabian prince.", while giving it 2.5 out of 4 stars.
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Shortly after release, Emergency Landing was re-titled Robot Pilot. Merely a B film, Variety felt the film's major asset was "sex appeal".Pendo 1985, p. 21.
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Burton developed a script for a remake of the 1963 science fiction B-film X: The Man with the X-ray Eyes with writer Bryan Goluboff, but it went unproduced.
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Killer Shark is a 1950 American B film directed by Budd Boetticher and starring Roddy McDowall, Laurette Luez and Roland Winters. Charles Lang scripted the film and also appeared on it.
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In 1957, the Regal Films production of the 1958 B film, Wolf Dog, starring Allison Hayes and Jim Davis, was filmed on location in Markdale as well as nearby Holland Township.
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Kid Glove Killer is a 1942 crime film starring Van Heflin as a criminologist investigating the murder of a mayor. The B film was the feature-length directorial debut of Fred Zinnemann.
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S.) "The Screen; At the Globe." The New York Times, March 30, 1942. Aviation film historian James H. Farmer, dismissed the film as "(a) fourth-rate B film."Farmer 1984, p. 297.
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The Chicago Daily Tribune called the film "a forthright little number very well acted and directed".Tinee, Mae. "Aerial Gunner: an interesting little 'B' film." 'Chicago Daily Tribune, October 10, 1943, p. E8.
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Blind Date, also known as Deadly Seduction, is a 1984 independent erotic thriller film directed by B-film maker Nico Mastorakis. It stars Kirstie Alley, Joseph Bottoms, Marina Sirtis, Valeria Golino, and Lana Clarkson.
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The film historians Steve Chibnall and Brian McFarlane praise the "sulky, spiky tenacity that differentiated her from many of her contemporaries".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 184.
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North of Arizona is a 1935 American western film directed by Harry S. Webb and starring Jack Perrin, Blanche Mehaffey and Lane Chandler.Pitts p.306 It was a low-budget B film made by Reliable Pictures.
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Considered only a "B" film, Flight Angels has been decried in contemporary reviews as demeaning to women and stereotypical in its treatment of pilots and aviators."Flight Angels (1940)." Classic Film Guide, 2011. Retrieved: August 15, 2011.
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Universal Studios began planning its remake of The House of the Seven Gables probably in early 1939. Pre-production for the film was secretive, as the studio feared that other companies with more financial resources might rush a House of Seven Gables into production before Universal could finish its version. The studio wanted the picture to be a low-budget B film, which would be released as a double feature with another B film. It was budgeted at a low $152,625 ($ in dollars), but was still considered one of Universal's "prestige" horror films.
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Strictly a "B" film, Bomber's Moon was not well received. The contemporary review in The New York Times succinctly summed it up as "shoddy" and "... second-rate Hollywood."T.S. "Movie Review." The New York Times, July 31, 1943.
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Widgey R. Newman (1900–1944) was a British screenwriter, producer and film director.Chibna;; p.20 He was a major force in the British B film industry of the 1930s, overseeing the production of a number of quota quickies.
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Immortal Gentleman is a 1935 British historical drama film directed by Widgey R. Newman and starring Basil Gill, Rosalinde Fuller and Dennis Hoey.Wood p.82 It was a low-budget B film, which usually did not have historical settings.
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Depth Charge is a 1960 British drama film directed by Jeremy Summers and starring Alex McCrindle, David Orr and Elliot Playfair.Murphy p.575 It was a B Film, shot partly on location in Berwickshire, and released by British Lion Films.
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Most of his career was spent in B films, as "the archetypal spiv, unreliable boyfriend, unscrupulous blackmailer, the smoothie ever ready to light a lady's cigarette".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 178.
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It was one of 15 films selected by Steve Chibnall and Brian McFarlane in The British 'B' Film, their survey of British B films, as among the most meritorious of the B films made in Britain between World War II and 1970. They describe it as "fresh and gently funny", "consistently amusing, its plot worked out with some wit" and add that "its cast, amiably led by Phillips at the start of his starring career, enters into the spirit of the joke".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 273–74.
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An actor, Tim Ford, tries to persuade an ex-actress, Anne Longman, to return to the stage. Her husband, Ralph, suspects that Ford's motives are more than just professional.Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 284–86.
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The third picture he completed was a co- production between MGM and himself, a cheapie B-film, The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director- actor. After leaving MGM, Kelly returned to stage work.
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They note that it was shot in just three weeks on a budget of £18,000 and describe it as "a film not just of suspense, but of real fascination".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 270–71.
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Brian Baxter of The Guardian identified Bodyguard as one of Fleischer's early RKO films that has stood the test of time. Michael Barrett of PopMatters rated it 6/10 and called it "a trim little B film that’s an unpolished gem of late-'40s noir".
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Johnny Comes Flying Home was primarily a B film, and although aerial scenes were notable, fell short in other aspects. In a later appraisal, film historian Stephen Pendo in Aviation in the Cinema (1985) noted that the film was "unimaginative".Pendo 1985, p. 23.
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Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 176. During rehearsals for a play at the Vaudeville Theatre in London, Carpenter was found dead in his dressing room. He had recently recovered from injuries suffered in a car accident.
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Take a Powder is a 1953 British comedy film directed by Lionel Tomlinson and starring Julian Vedey, Max Bacon and Isabel George.Chibnall & McFarlane p.126 A B film, it was made at Brighton Studios. The plot is set against the backdrop of the developing Cold War.
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The Great Plane Robbery (aka The Great Plane Robber) is a 1940 crime-adventure B film directed by Lewis D. Collins. Collins was more often associated with directing serials for Universal and Columbia Pictures.Pendo 1985, p. 20. It stars Jack Holt, Stanley Fields and Noel Madison.
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Collar, Matt "Kris Bowers – Heroes + Misfits". AllMusic. Retrieved February 4, 2015. An AllMusic reviewer commented that the pianist was "based in jazz but with an ear for contemporary R&B;, film scores, and electronic music". The album premiered at No. 1 on the iTunes Jazz charts.
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Brown appeared in some notable films: as the inebriated professor in Hitchcock’s Strangers on a Train (1951), The Day the Earth Stood Still (1951, uncredited), and The Wild One (1953); he supplied the voice of "Ro-Man" in the 1953 cult science fiction B-film Robot Monster.
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I'll Stick to You is a 1933 British comedy film directed by Leslie S. Hiscott and starring Jay Laurier, Betty Astell, Louis Hayward and Hal Walters. It was made at Beaconsfield Studios as a quota quickie.Chibnall, Steve. Quota Quickies: The Birth of the British 'B' Film.
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The use of USAAF aircraft in the film elevated Aerial Gunner from the standard B film of the era. Principal photography for Aerial Gunner by the Paramount Pictures Pine-Thomas Productions unit took place over from October 21 to mid-November 1942."Original Print Information: Aerial Gunner (1943)".
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Thus begins a criminal investigation seeking the perpetrator, returning the plot to the film's opening situation. This British B film is noted for its nightmarish premise and opening scene of horror that belies its censorship certificate. It is sometimes broadcast on the Freeview channels movies4men and Talking Pictures TV.
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Critically, it was considered one of Bogart's lesser features and although production standards were acceptable, it has the look of a "B" film. The main criticism stems from a limited plotline that does not fully allow the characters' development."Other Reviews for 'Chain Lightning' (1950)." Turner Classic Movies.
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Power Dive was primarily a B film. Aviation Film Historian James H. Farmer characterized the film as a "fast- paced, low-budget formula film ..."Farmer 1984, p. 324. Variety called it "... good program entertainment, taking full advantage of present interest in aviation and national preparedness."Pendo 1985, p. 20.
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His first film was Dodging the Dole (1936). Barnes leapt to national fame when Alexander Korda signed him to play the title role in Return of the Scarlet Pimpernel (1937). He followed it with Who Goes Next? (1938) and the well-received "B" film This Man Is News (1938).
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The film historians Steve Chibnall and Brian McFarlane describe The Large Rope as an "excellent thriller", adding that it has "an arresting narrative premise and an unsentimental view of the potential mean-spiritedness of village life".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 139.
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Retrieved: May 20, 2019. Additional filming took place from mid-late February 1959. "Filmland events." Los Angeles Times, February 25, 1959. Retrieved: May 20, 2019. As a B film, a great deal of reliance was on stock footage of the new Boeing 707 airliner.Paris 1995, p. 181.Pendo 1985, p. 27.
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Moore was in a British B film, Mantrap (1953), for Hammer Films, supporting Paul Henreid. He had the lead in Recoil (1953, directed by John Gilling), Conflict of Wings (1954) and The Blue Peter (1954). He supported Michael Redgrave in The Green Scarf (1954). "Thank heavens for this", Moore said.
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The Night the World Exploded is a 1957 science fiction, disaster film. The film was written by Jack Natteford and Luci Ward, and directed by Fred F. Sears for producer Sam Katzman.. Both Katzman and Sears were great exponents of the low-budget B film genre.Walker 1997, pp. 241, 393.
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The studio's 1937 film The Life of Emile Zola gave the studio the first of its seven Best Picture Oscars. In 1937, the studio hired Midwestern radio announcer Ronald Reagan, who would eventually become the President of the United States. Although Reagan was initially a B-film actor, Warner Bros.
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In 1958, she acted in the B-film Giant from the Unknown, about a man who was frozen in suspended animation for 500 years and was freed by a lightning bolt and goes on a killing spree.W. Lee Cozad More Magnificent Mountain Movies (pg. 215) via google.com; accessed November 11, 2017.
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Unlike many other studios, it remained open during World War II, producing films for the Ministry of Information. In the late 1940s, the studios produced several children's films.Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 96–101. In 1950, Anglo-Amalgamated began making films at Merton Park.
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Ira S. Webb (May 12, 1899 - December 9, 1971) was an American film producer, set decorator, screenwriter, art director and film director. He won an Academy Award and was nominated for two more in the category Best Art Direction. He was the brother of "B"-film producer and director Harry S. Webb.
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Contemporary reviews of The Sky Spider noted that as a "bottom of the bill" B-film, there were many improbable scenes and "deficiencies in dialogue and acting". The incredible feat of "dropping a stick of dynamite from an aircraft, thousands of feet above, was one of the questionable feats."Wynne 1987, p. 114.
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In 1936, he left New York for Hollywood. He tested for a role in Goldwyn's Come and Get It but lost out to Frank Shields. His first role in Goldwyn's Dodsworth (1936) presented him as an affable, handsome character actor. He had the male lead in Hats Off (1936), an independent "B" film.
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The Giant Claw (a.k.a. The Mark of the Claw) is a 1957 American horror science fiction film from Columbia Pictures, produced by Sam Katzman, directed by Fred F. Sears, that stars Jeff Morrow and Mara Corday. Both Sears and Katzman were well known as low-budget B film genre filmmakers.Walker 1997, pp.
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The Time Travelers was a B film, evident by its meagre production values, although both the plot and actors were singled out for mention by critics. Leonard Maltin considered the film "not bad with a downbeat ending, one of the first American films photographed by Vilmos Zsigmond".Maltin, Leonard. Leonard Maltin's Movie Guide 2009.
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Bennett and Tracy made She Wanted a Millionaire that same year, with their billing reversed (Bennett billed over Tracy), and also played a married couple two decades later in Father of the Bride and Father's Little Dividend. It was remade as a B film in 1940 by Fox as Pier 13, directed by Eugene Forde.
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High Hell is a 1958 American film set in the Canadian Rockies. It was a British B-movie intended for North American audiences,Stephen Chibnall, Brian McFarlane (2009). The British 'B' Film, London: Palgrave MacMillan, p. 56. Accessed March 21, 2017 with exteriors filmed in the Swiss Jungfrau and interiors on a British sound stage.
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Only a small amount of academic research has been conducted on the economic impact of low-budget feature-film production. Two studies conducted from a British perspective includes Steve Chibnall's Quota Quickies: The Birth of the British 'B' FilmChibnall, Steve (2007). Quota Quickies: The Birth of the British 'B' Film. London: British Film Institute. .
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Serena is a 1962 black-and-white, British B film crime thriller directed by Peter Maxwell and stars Patrick Holt, Emrys Jones and Honor Blackman. The title of the film is the name of one of the characters, Serena Vaughan, who may have figured in a murder."Film details: 'Serena (1962)." British Film Institute.
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The British film historians Steve Chibnall and Brian McFarlane wrote: "The Danzigers were not in the business for art; they were in the business for business; and within those unpretentious parameters they ran an efficient studio from 1956 to 1962."Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 92.
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Highway Dragnet is a 1954 film noir B film crime film directed by Nathan Juran from a story by U.S. Anderson and Roger Corman. The film stars Richard Conte, Joan Bennett and Wanda Hendrix. It was the first feature film on which Roger Corman worked - he wrote the original story and worked as an associate producer..
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Arctic Flight, was primarily a B film. Aviation Film Historian Stephen Pendo characterized the Monogram films as unpretentious but with Lew Landers directing, the experienced specialist in low-cost filmmaking, there was always a good product turned out.Pendo 1985, p. 122. Noted Hollywood cinematographer Richard H. Kline considered Landers "... the most prolific of all directors", adept in many genres.
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Storm Seekers was, at best B film "potboiler" fare, but whose topic was not only timely but also appeared at a time when networks were looking for material to fill newly emerging broadcast channels. Well over a dozen network premieres took place across Europe, Asia and North America. The film was released in 2010 for home media."Storm Seekers".
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Wings Over the Pacific had a New York premiere, opening on the week of June 15, 1943. The film was seen as a primarily a B film programmer, typical of many of the propaganda films of the era.Koppes and Black 1987, p. 16. Aviation film historian Stephen Pendo, however, characterized the film as "... (a) poor Monogram production".
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During the 1960s, the group appeared with Cliff Richard in the films The Young Ones, Summer Holiday, Wonderful Life, and Finders Keepers. They also appeared as marionettes in the Gerry Anderson film Thunderbirds Are GO, and starred in a short B-film called Rhythm 'n Greens which became the basis of a music book and an EP.
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John Bentley then took over the role in Calling Paul Temple, continuing for two further films: Paul Temple's Triumph (1950) and Paul Temple Returns (1952).Paul Temple on FilmChibnall, Steve and McFarlane, Brian. The British 'B' Film (2017), p 65 It was produced by Ernest G. Roy at the Nettlefold Film Studios in Walton On Thames.
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The dual career of the nation's oldest theatre ended quietly during 1966 with the screening of a Bette Davis 'B' film Who's Buried in my Grave. After 90 years of uninterrupted service, the interior of the Victoria has been left practically untouched by owners to ensure that it maintains the potential to be reopened in the future.
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Cash on Demand was selected by the film historians Steve Chibnall and Brian McFarlane as one of the 15 most meritorious British B films made between the Second World War and 1970. They note that it also received enthusiastic reviews at the time of its release from The Monthly Film Bulletin and Kinematograph Weekly. They particularly praise Peter Cushing: "Above all, it is Peter Cushing's performance of the austere man, to whom efficiency matters most (though the film is subtle enough to allow him a certain integrity as well), and who will be frightened into a warmer sense of humanity, that lifts the film well above the perfunctory levels of much 'B' film-making."Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 280–81.
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Minesweeper was primarily a B film, and although simulated combat scenes were notable, other scenes fell short in other aspects. As an example of Hollywood's relentless wartime efforts to portray all the fighting units of the U.S. military in a film, Minesweeper was unique in being the only film depicting the specialized work of minesweeping.Koppes and Black 1987, pp. 69, 115.
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While, A&E; Italy has been producing locally with some of them being picked up international, the company began producing or commissioning films with international potential being with its 2018 releases. The first of this group was Emanuela Orlandi/Vanished Special picked up by Sky in Italy, Germany's ZDF and Belgian public television RTBF and produced by B&B; Film.
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She lost a part in They Dare Not Love because Brent was cast. Worth was fourth billed in the gangster B film Borrowed Hero (1941) at Monogram and The Dawn Express (1942) at RKO. Back at Columbia, she was billed third in Boston Blackie Goes Hollywood (1942), then at Universal, she was uncredited in When Johnny Comes Marching Home (1942).
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James Wilson was a British cinematographer. The film historians Steve Chibnall and Brian McFarlane describe his work for the B movie production company The Danzigers in the 1950s as one of the company's "strongest assets", especially in his ability to create a sense of "unillusioned grimness".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 95.
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Harry S. Webb (October 15, 1892 - July 4, 1959) was an American film producer, director and screenwriter. He produced 100 films between 1924 and 1940. He also directed 55 films between 1924 and 1940. He was the brother of "B"-film producer and director Ira S. Webb and the husband of screenwriter Rose Gordon, who wrote many of his films.
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The parts of a CCD scanner: (A) Xenon bulb; (B) film plane; (C) & (D) prisms and/or dichroic mirrors; (E), (F) & (G) red-, green- and blue- sensitive CCDs. The Robert Bosch GmbH, Fernseh Div., which later became BTS inc. Philips Digital Video Systems, Thomson's Grass Valley and now is DFT Digital Film Technology introduced the world's first CCD telecine (1979), the FDL-60.
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"PICKED BY AUSTRALIANS". Morning Bulletin,(Qld : 1874-1954)(National Library of Australia) 1 May, 1945. Retrieved 12 October 2013 However, despite the positive publicity, most of her forty film appearances were minor or un- credited roles. She met John Meredyth Lucas on the set of one of these, the wartime spy drama The Gorilla Man, a B film made in 1943.
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Howth Castle was depicted as the fictitious "Castle Haloran" from the 1963 Roger Corman and Francis Ford Coppola b-film Dementia 13 (a.k.a. The Haunted and the Hunted) where it was the setting of numerous scenes. Flashback scenes from the Sergio Leone Spaghetti Western, Duck, You Sucker were shot here.Duck, You Sucker, AKA A Fistful of Dynamite (2-Disc Collector's Edition, Sergio Donati Remembers) (DVD).
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Of her numerous roles in British B films in the 1950s, the film historians Steve Chibnall and Brian McFarlane say: "She was essentially crisp and wholesome, in her open Scots prettiness and brought a proper spirited resourcefulness to these assorted plucky heroines, making them a good deal more endearing and credible than the screenplays deserved."Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 186.
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Lesbian Vampire Killers, The Guardian, 2009-03-20. Retrieved on 2009-03-21 Nicholas Yanes of Scifipulse.net found it to be "a great B film" worth becoming a cult classic. Whilst on the comedy panel show The King is Dead in September 2010, Corden commented watching the film would be too harsh a punishment for prisoners being held at Guantanamo Bay and that it was "a pile of shit".
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Retrieved: February 5, 2017. Flight to Nowhere was a B film, hampered by a modest budget although the film featured Evelyn Ankers, an actress who had made her reputation as a "scream queen" in that low-cost world.McClelland 1988, p. 206. With the plot based on a pilot caught up in a smuggling ring, a Lockheed Model 12 Electra Junior (c/n 1258, s/n 38-541, NC19933) was used.
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Metro Pictures seemed unwilling to acknowledge that it had made a star. Most likely due to Rex Ingram's lack of faith in him, the studio refused to give him a raise beyond the $350 a week he had made for Four Horsemen. For his follow-up film, they forced him into a bit part in a B-film called Uncharted Seas. On this film, Valentino met his second wife, Natacha Rambova.
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Discussing Private Information, one of McDonell's three films as a director, Steve Chibnall and Brian McFarlane praise his "sensitive regard for human relationships and for the ways in which the pressure of circumstance highlights aspects of character", and they note that he "had a knack for obtaining striking performances from his leading ladies".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 267–68.
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The film historians Steve Chibnall and Brian McFarlane describe Feet of Clay as "oddly compelling", "set in a world of prison, drab night streets and stuffy private hotels". At the ending, "once the final flurry of fisticuffs is over, the young lovers embrace, but the acrid atmosphere of the film still hovers over their union".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 95.
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Born Harry A. Grinde in Madison, Wisconsin but nicknamed "Nick," Grinde graduated from the University of Wisconsin. He later moved to New York and worked in Vaudeville. Grinde became a Hollywood film writer and director in the late 1920s, and was often assigned to familiarize Broadway stage directors with the techniques of film making. As a director, he is considered one of American cinema's early B film specialists.
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This also facilitates the availability of the film to all four hosts at the same time. Generally targeting films that fall more into the cult/b-film/box office failure category, the podcast maintains its tagline, "Mining the depths of film entertainment for all mankind..." In 2011 and 2013, Film Sack won People's Choice Podcast Awards in the film category. The podcast is also hosted on iTunes.Film Sack. iTunes.
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Gone in 60 Seconds is classified as an independent film. H. B. Halicki wrote, starred, directed, produced and even did his own stuntwork in the film. In a contemporary context, the portions of the film preceding the chase sequences are generally seen as on par with a period B-film. Halicki employed family and friends (instead of professional actors) to play parts in his film to keep the budget low.
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He spent the first few years of his Hollywood career in the "B film" unit, where, Reagan joked, the producers "didn't want them good; they wanted them Thursday". He earned his first screen credit with a starring role in the 1937 movie Love Is on the Air, and by the end of 1939, he had already appeared in 19 films, including Dark Victory with Bette Davis and Humphrey Bogart.
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Murder in the Clouds was both handicapped and praised for its brevity and breeziness. As a "B" film, it was one of a score of aviation-themed films that appeared in quick succession, and had many similarities. By 1934, the film industry became more safety-conscious, with screen air crashes largely being abandoned as more civil aviation topics replaced the usual World War I air battles.Farmer 1984, p. 4.
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In 2006, he joined cinematographer Alagappan as an assistant cinematographer for the film Agnisakshi (1999 film), followed by films such as Photographer (film), Novel (film), Thalappavu. Later he joined cinematographer Jibu Jacob and worked with him in movies namely Shakespeare M.A. Malayalam, Pranayakalam, Heartbeats. In 2007 he joined the team of Big B (film) and worked as an assistant cinematographer to Sameer Thahir. He also worked in Anwar (2010 film) as an assistant cinematographer.
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Marilyn was selected by film historians Steve Chibnall and Brian McFarlane as one of the 15 most meritorious British B films made between World War II and 1970. The authors note that it is "symptomatic of a transatlantic turn in the British 'B'" and praise its depiction of a "pervasive sense of dissatisfaction with things as they are".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 268–70.
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24 Hours of Explicit Sex (original title: 24 Horas de Sexo Explícito) is a 1985 sexploitation B-film by Brazilian director José Mojica Marins. Marins is also known by his alter ego Zé do Caixão (Eng: Coffin Joe). Marins shot the film for the production company Fotocenas Filmes which agreed to finance his project of a new Zé do Caixão film. After the release of the film, producers failed to finance Marins for his project.
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Film critic Dennis Schwartz panned the film, writing, "Alfred Zeisler (Fear) directs this uninteresting undercover police drama ... The story for this low-budget B-film from Eagle Lion studios is just about as far-fetched and ludicrous as the acting. It also lacked suspense, any surprises and the production values were shoddy. The only good thing is that it moves along at a fast clip and is over in a flash."Schwartz, Dennis.
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In the 1950s, Keith Faulkner was known for his roles as Ginger in Just William and Bob Cherry in Billy Bunter of Greyfriars School (both BBC TV series) and also featured in juvenile roles in a number of feature films. In the early 1960s, he appeared in several B-film thrillers and crime films and starred in The Man in the Back Seat, and Strongroom. His last screen credit was in 1963.
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Out of five reviews on Rotten Tomatoes, four are negative. Common criticisms include that the film was not gripping enough, had a weak storyline, generally unrealistic deaths, weak dialogue and unconvincing special effects. The film was not well received in the Netherlands and was seen as comparing poorly to De Lift, considered to be one of the strongest Dutch horror films of all time, while Down was regarded as a bad American B-film.
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Despite the many transformations in the industry, the average production cost of an American feature film was effectively stable over the course of the 1950s. In 1950, the figure had been $1 million; in 1961, it reached $2 million—after adjusting for inflation, the increase in real terms was less than 10 percent.Finler (2003), p. 42. The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters.
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Nancy Drexel (April 6, 1910 – November 19, 1989) was an American film actress of the late silent and early sound era. She was born Dorothy Kitchen and is sometimes credited by this name in films. She appeared in 29 films, generally B-film Westerns. In 1931, she appeared in one of the earliest Spanish-language sound films, Hollywood, City of Dreams, as a glamorous movie star who is the idol of the film's hero, José Bohr.
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Paramount used Donlevy in a key role in Cecil B. De Mille's Union Pacific (1939), stepping in for Charles Bickford. He stayed at that studio for Beau Geste (1939). His performance in the latter, as the ruthless Sergeant Markoff, earned him an nomination for an Academy Award for Best Supporting Actor. Donlevy went to Columbia to star in a "B film", Behind Prison Gates (1939), and went to RKO for a support part in Allegheny Uprising (1939).
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Hickox was born in London, where he was educated at Emanuel School. He started in the film industry at age 17, working at Pinewood Studios as "a thirty bob a week office boy". Hickox worked extensively as an assistant director and second unit director throughout the 1950s and early 1960s. ‘’The British B Film’’ (Steve Chibnall & Brian McFarlane; BFI, 2009) credits him with working on over thirty musical shorts and a handful of jazz/pop supporting featurettes.
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De Carlo p 58 De Carlo wanted to act. At the encouragement of Artie Shaw, who offered to pay her wages for a month, she quit the Florentine Gardens and hired a talent agent, Jack Pomeroy. Pomeroy got De Carlo an uncredited role as a bathing beauty in a Columbia Pictures B film, Harvard, Here I Come (1941). She had one line ("Nowadays a girl must show a front") in a scene with the film's star, Maxie Rosenbloom.
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The screenplay, written by the American B-film scenarist, Richard Landau, and heavily revised by Val Guest, presents a reworked version of the events of the original television serial. Among the plot changes are the elimination of the gangster episode. The most significant plot change, however, occurs at the climax of the film. In the television version, Quatermass appeals to the last vestiges of the creature's humanity and convinces it to commit suicide to save the world.
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Fox promoted Conte to top billing with a film noir, The Spider (1945). Although a "B" film for the studio, it was successful enough to establish Conte in film noir. He had a good support role in Somewhere in the Night (1946) directed by Joseph Mankiewicz then supported James Cagney in a spy film, 13 Rue Madeleine (1946), directed by Henry Hathaway. Conte was borrowed by Enterprise Productions for The Other Love (1947) with Barbara Stanwyck and David Niven.
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Also known as Sandra Holt, Dorne was often known in the 1950s as the B-film Diana Dors. As a platinum blonde, she was a regular female lead in B-films in the late 1940s and early 1950s. She trained at the Rank Organisation's "charm school". Film roles dried up as she grew older, but she still found work and acted mainly in British television, appearing in such series as Z-Cars, The Avengers and The Third Man.
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The Incredible Bongo Band, also known as Michael Viner's Incredible Bongo Band, was a project started in 1972 by Michael Viner, a record artist manager and executive at MGM Records. Viner was called on to supplement the soundtrack to the B-film The Thing With Two Heads. The band's output consisted of upbeat, funky, instrumental music. Many tracks were covers of popular songs of the day characterized by the prominence of bongo drums, conga drums, rock drums and brass.
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The film historians Steve Chibnall and Brian McFarlane say Jane Hylton "made something very interesting of the pub-keeper with an escaped-convict husband and a dashing smuggler boyfriend (Derek Bond). She suggests, often with evocative stillness, a woman whose past is unravelling and whose future she is tentatively trying to make something of." They also praise Dora Bryan's strong performance in support.Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 134.
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Mackaill made a smooth transition to sound with the part-talkie The Barker (1928) and had success in talkies for the next couple of years. In September 1928, First National Pictures was acquired by Warner Bros., and her contract with First National was not renewed upon its expiration in 1931. Perhaps her most memorable role of this era was the 1932 Columbia Pictures B film release Love Affair with a young Humphrey Bogart as her leading man.
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Durgnat and Simmon, 1988 p. 284-285 Vidor's artistic commitments to the film were minimal in a production that was funded as a B Movie, though he meticulously documents the experience of workers in field and factory.Durgnat and Simmon, 1988 p. 281: The film "hides any depth of commitment behind...B film setups…" And p. 284: "The visual style argues that Japanese War Bride remained an impersonal production for Vidor." And: “he establishes the documentary community...lettuce field-hands...packing plant…Cannery Row.
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Critically, the film did not fare well. Bosley Crowther, in his review in The New York Times, thought the blending of fictional and real-life events was outlandish and dismissed the film as nothing more than a B film. He wrote that Eagle Squadron was "... far from the genuine drama about American fliers with the R. A. F. that it should be, but is rather a highfalutin war adventure film which waxes embarrassingly mawkish about English courage and American spunk."Crowther, Bosley.
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Gilling left a job in England with an oil company at the age of 17 and went to Hollywood, where he worked at a number of jobs, some of them in the film industry, before returning to England in 1933.Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 133–35. He entered the British film industry immediately as an editor and assistant director, starting with Father O'Flynn. He served in the Royal Navy in the Second World War.
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Anderson and Ustinov then wrote and directed a feature together, Private Angelo (1949). Anderson made his solo directorial debut with a B film, Waterfront (1950) with Robert Newton. The Telegraph critic announced, "I can only burn my boats and prophesy that young Michael Anderson is possibly the most promising discovery since Carol Reed and David Lean." Anderson followed his first at bat with some more B movies: Hell Is Sold Out (1951); Night Was Our Friend (1952) and Dial 17 (1952).
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Tomorrow at Ten was selected by the film historians Steve Chibnall and Brian McFarlane as one of the 15 most meritorious British B films made between World War II and 1970. While they praise the characterization, the performances, the production design, the cinematography and the screenplay, they say that "the film's real strength is in the direction of the veteran Lance Comfort in one of his last films".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 281–82.
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In an interview in 1984 about the film, Edward Dein didn't recall much about the production of the film, but stated that "We always used old sets from other films. These jungle pictures and horror films were exploitable, so we did them. Sixty minutes was about right for a B film because they were used as filler, like newsreel." LeBorg recalled that the film was made in one week, and that most of these films were made in ten days.
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The film historians Steve Chibnall and Brian McFarlane praise Comfort's gifts "in the confident exercise of melodramatic impulses in the interests of illuminating character and relationship, in a decorative visual style to serve these impulses, and in giving their heads to string of dominant actors". They add that all of his films "are persuasive narratives, marked by absence of sentimentality and the whiff of human reality".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 140–43.
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Ladies of the Chorus is a 1949 American musical romance film directed by Phil Karlson and starring Adele Jergens, Marilyn Monroe and Rand Brooks. The screenplay, written by Harry Sauber and Joseph Carole, was based on a story by Sauber. Released by Columbia Pictures, Ladies of the Chorus features Marilyn Monroe in the first major role of her career. Considered a B film at the time of its release, it quickly disappeared from theatres, and Monroe's contract with Columbia Pictures was not renewed.
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The "King of the Bs", Roger Corman, produced and directed The Raven (1963) for American International Pictures. Vincent Price headlines a cast of veteran character actors along with a young Jack Nicholson. A B movie or B film is a low-budget commercial motion picture that is not an arthouse film. In its original usage, during the Golden Age of Hollywood, the term more precisely identified films intended for distribution as the less-publicized bottom half of a double feature (akin to B-sides for recorded music).
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Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only —after adjusting for inflation, less than 10% more than it had been in 1950. The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine sword- and-sandals import, Hercules Unchained, opened at neighborhood theaters in New York.
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The Flying Irishman was a typical "B" film in terms of length and treatment as well as having an obviously uncomfortable individual featured in the lead role, yet the "fun" of the unlikely tale was conveyed. Frank Nugent of The New York Times charitably called it a "freak picture" that, nonetheless, was "... lively, unassuming, natural and thoroughly entertaining."Nugent, Frank. "The Flying Irishman (1939); The Screen; Doug Corrigan acts the wrong way in his biography, 'The Flying Irishman,' at the Rialto at the Teatro Latino".
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Contemporary film critic, Dennis Schwartz, praised the film, writing, "The compelling well-made fake realism of the small studio sleeper semi-documentary crime thriller, T-Men, brought to wider attention the immense skills of B-film director Anthony Mann (Desperate/The Tin Star/The Man from Laramie) and cinematographer John Alton ... John Alton's brilliant camerawork makes the mise en scène dramatically grander than the matter-of-fact tone of the narration."Schwartz, Dennis. Ozus' World Movie Reviews, film review, March 22, 2005. Accessed: August 1, 2013.
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5th Avenue Girl (1939) Laddie (1940) RKO gave Holt his first lead, in the B-film The Rookie Cop. It was popular and RKO put him in The Girl and the Gambler, opposite Leo Carrillo. He was then cast as the romantic lead for the studio's biggest star, Ginger Rogers, in 5th Avenue Girl (1939). It was popular and the Los Angeles Times said Holt "does unusually well in this" although the New York Times thought he "seems a trifle young to be running a great corporation".
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In film, Mitchell initially made an appearance in 1916 and one or two other silents amidst his theater work, but Mitchell's screen career really took off with the advent of sound. His first starring role was in the film Man to Man (1930) from director Allan Dwan. Grant Michell often played the father of the heroine, businessmen, bank clerks or school principals.Grant Mitchell at Allmovie He usually played supporting characters, but also had a rare lead role in the B film comedy Father Is a Prince (1940).
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Hirschhorn (1999), pp. 9–10, 17. It is not clear that the term B movie (or B film or B picture) was in general use before the 1930s; in terms of studio production, however, a similar concept was already well established. In 1916, Universal became the first Hollywood studio to establish different feature brands based on production cost: the small Jewel line of "prestige" productions, midrange Bluebird releases, and the low-budget Red Feather line of five-reelers—a measure of film length indicating a running time between fifty minutes and an hour.
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Chick Quest are a post-punk/indie-rock band from Vienna, Austria. Their initial concept was to combine chord progressions from old 60s Italian Western film scores, such as work by Ennio Morricone, with the dancey Post-Punk of the late 70s and early 80s like Talking Heads, B52's, Manicured Noise or The Clash. The band name itself is a nod to cheesy 60s B-film titles and is meant to be taken as "A girl on a quest" as opposed to "Guys on a quest for chicks".
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Vélez with Leon Errol in Mexican Spitfire (1940) In 1939, Vélez was cast opposite Leon Errol and Donald Woods in a B-comedy, The Girl from Mexico. Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire. That film was also a success and led to a series of Spitfire films (eight in all). In the series, Vélez portrays "Carmelita Lindsay", a temperamental yet friendly Mexican singer married to Dennis "Denny" Lindsay (Woods), an elegant American gentleman.
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It's a film too arty for average audiences, and too humdrum for others." Dave Kehr of the Chicago Reader wrote: "An RKO B-film from 1940, done up in high Hollywood expressionism. It's absurdly overwrought (which was often the problem with the German variety), but interesting for it. The director, Boris Ingster, is better with shadows than with actors - venetian blinds carve up the characters with more fateful force than Paul Schrader's similar gambit in American Gigolo, and there's a dream sequence that has to be seen to be disbelieved.
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During the show run he began appearing in TV in episodes of The Philco-Goodyear Television Playhouse ("Dinner at Antoine's", "This Time, Next Year", an adaptation of "The Little Sister", "The Promise"). He announced he had bought the rights to the novel The Perfect Round by Henry Morton Robinson and wanted to turn it into a play. In November 1949 Eythe left the cast of Lend an Ear, replaced by John Beal. He returned to films with the lead role in a B film at Columbia, Customs Agent (1950).
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The film historians Steve Chibnall and Brian McFarlane praise her "quite unusual intensity and a real capacity for depicting working-class lives", and note of her extensive B movie career in the 1950s: "Virtually everything she did is worth watching, for her if sometimes for little else." They add that each film she was in "benefits from the instinctive humanity, the sense of her characters' having a past and a place in the world, which she brings to them".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 187.
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Laurel and Hardy signed with 20th Century-Fox in 1941 and Metro-Goldwyn-Mayer in 1942.MacGillivray 2009, p. 6. However, the working conditions were now completely different as they were simply hired actors, relegated to both studios’ B-film units, and were initially not allowed to contribute to the scripts or improvise, as they had always done.MacGillivray 2009, p. 9. When the films proved popular, the studios allowed the team more inputMacGillivray 2009, p. 190. and Laurel and Hardy starred in eight features until the end of 1944.
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Early in his career, Erhard worked as a music teacher at the University of Southwestern Louisiana (USL), and directed numerous theater productions there. As a stage actor, he performed in the original 1975 production of David Mamet's American Buffalo in Chicago. In cinema, he appeared in Walking the Edge (1985) and Say Yes (1986), and played the lead villain, Munkar, in the low-budget classic B film Deathstalker (1983). He served as the referee on the medieval-themed television game show Knights and Warriors, under the moniker LORD ("Lord Of the Rules and Discipline").
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Zanuck eventually agreed, giving Power A-list production values for what normally would be a B film. The movie was directed by Edmund Goulding, and though it was a failure at the box-office, it was one of Power's favorite roles for which he received some of the best reviews of his career. However, Zanuck continued to disapprove of his "darling boy" being seen in such a film with a downward spiral. So, he did not publicize it and removed it from release after only a few weeks insisting that it was a flop.
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The film offered hardly any entertainment value and the irrelevant story was more of a turn off than anything else. On top of all that, there were serious gaffes in the plotline that filled the story with holes the size of craters. This postwar B-film melodrama reunites Hotel Berlin co-stars Helmut Dantine and Andrea King. Shadow of a Woman might be remembered by film buffs only because it played in an early restaurant scene "How Little We Know", the Hoagy Carmichael song that Lauren Bacall sang in To Have and Have Not.
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Another employee with whom Warner had troubles was studio producer Bryan Foy. In 1936, Wallis hired Foy as a producer for the studio's low budget B movies leading to his nickname "the keeper of the B's". Foy was able to garnish arguably more profits than any other B-film producer at the time. During Foy's time at the studio, however, Warner fired him seven different times. During 1936, The Story of Louis Pasteur proved a box office success and star Paul Muni won the Oscar for Best Actor in March 1937.
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Murder in the Clouds is a 1934 American action film dealing with aviation. The film stars Lyle Talbot and Ann Dvorak, and is directed by D. Ross Lederman. Although standard formula "B" film fare, it was notable as the screenplay and original story was written by Dore Schary as a freelance writer, during one of his periods when he was fired from a more prestigious film job. Schary was a director, writer, producer and playwright who later became head of production at Metro-Goldwyn-Mayer, and eventually president of the studio.
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While appearing in The Two Bouquets, Morison was noticed by talent scouts from Paramount Pictures, who -- at the time -- were looking for exotic, dark-haired glamorous types similar to Dorothy Lamour, one of their star commodities. Morison was subsequently signed to a contract with Paramount. She made her feature film debut in the "B" film Persons in Hiding (1939). Also in 1939, Paramount considered her for the role of Isobel in their adventure film Beau Geste, starring Gary Cooper and Ray Milland, but the role instead went to Susan Hayward.
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" Outside Cannes, the film received positive reception at other film festivals. Twitch Film gave the film a positive review saying it was "impeccably shot, scored and designed", and "the film is intellectual wankery of the highest order in the sheepskin of a B-film of the lowest order". The Huffington Post wrote that Quentin Dupieux "succeeds in creating an entertaining, sometimes even tense horror film with the very same footage he lightly mocks. The result is an uber-cerebral spoof that is at once silly and smart, populist like a mildly trashy B-movie yet high brow like absurdist theater.
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The Production Code was officially scrapped in 1968, to be replaced by the first version of the present-day rating system. That year, two horror films came out that heralded directions American filmmaking would take in the next decade, with major long-range consequences for the B film. One was a high-budget Paramount production, directed by the celebrated Roman Polanski and based on a bestselling novel by Ira Levin. Produced by B-horror veteran William Castle, Rosemary's Baby "took the genre up-market for the first time since the 1930s."Cook (2000), pp. 222–223.
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He met with Stanley Kubrick to discuss a role in Lolita, but nothing came of it. Flynn went to Cuba in late 1958 to film the self-produced B film Cuban Rebel Girls, where he met Fidel Castro and was initially an enthusiastic supporter of the Cuban Revolution. He wrote a series of newspaper and magazine articles for the New York Journal American and other publications documenting his time in Cuba with Castro. Flynn was the only journalist who happened to be with Castro the night Batista fled the country and Castro learned of his victory in the revolution.
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"Drama: Texas again supplies photogenic beauty; Another sister debuts; Male Stars Get 'Breaks'; Naval Officer 'Find'; 'Cyclone'; Much Astir Hitler Satire on Way." Los Angeles Times, November 2, 1942, p. 18. With the assistance of the USAAF, aerial scenes featured North American T-6 Texan and Beech AT-11 Kansan trainers at Harlingen Air Force Base, and Lockheed B-34 Lexington bombers. The use of operational aircraft lent an air of authenticity to this low-budget B film feature, although a number of ground scenes that were later added had to rely on studio rear projection work.
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In 2000, Grant opened a cafe in the Moiliili district of Honolulu called "The Haunt". The cafe, an odd collection of B-Film memorabilia, books on folklore and mythology, and various other items from the occult to comics, was created as a home for "the creative and offbeat." The Haunt would later be expanded with the addition of an upstairs séance room, designed in the idea of 19th century-era American rooms of the kind. In addition to the Haunt, Grant and volunteers started the Honolulu Ghost Walks, tours of local places in Hawaii tied into ancient mythology and current folklore.
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The Flying Saucer did not rise above its B film origins; its low budget production doomed it to the bottom end of theater playbills and drive-ins. The New York Times film critic Bosley Crowther observed: "A film called 'The Flying Saucer' flew into the Rialto yesterday and, except for some nice Alaskan scenery, it can go right on flying, for all we care. In fact, it is such a clumsy item that we doubt if it will go very far, and we hesitate, out of mercy, to fire even a critical shot at it".Crowther, Bosley.
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It is asking a lot of an audience to believe that she could display anything but clothes. George Raft as a poker-faced detective acts with flat- toned indifference, too, and Gene Tierney and Reginald Gardiner barely manage to live through their roles." Film critic Dennis Schwartz panned the film in 2011, opining that "It's a flimsy story that is apathetically written, poorly paced and overacted with shrill performances by both Ginger Rogers and Peggy Ann Garner. The B-film crime drama might have been better served as a cheapie production, with some of its filler scenes lopped off.
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While working a martial arts demonstration team, the magazine Inside Kung Fu contacted Cynthia Rothrock's team stating that D & B Film was looking for a new male lead to play a Bruce Lee-esque character in a film.Schubart, 2007. p.145 Despite looking for a male lead the team has a few women on their team and decided to bring them to demonstrate their skills as well. The studio producers were so impressed with Rothrock's martial arts skills that they offered her the role in the film on the spot and changed the lead from a male to female.
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TV Guide wrote that a "good performance by Victor and an intelligent script lift this one above the ranks." The film historians Steve Chibnall and Brian McFarlane agree: "The film is quite neatly structured but, without the coherence which Victor's sympathetic understanding of the central character gives, it would seem much thinner than it does. Its comedy centres on the drabness of an oppressive domestic situation and, in the flowering of George Potter, what may be lost in unthinking conformity to a routine."Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 204.
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A U.S. Coast Guard Douglas RD-1 Dolphin. Coast Guard was a period B film actioner, combining exciting coast guard rescues with a typical romantic sub-plot: "friends in love with girl, girl picks cad, romance in trouble, all is right in the end". An array of stock footage and model work is mixed in with live action. As one of the many serials, features and shorts that was based on the United States Coast Guard, the "B" feature was notable in that it featured a trio of rising stars, Randolph Scott, Ralph Bellamy (in another one of his "buddy" roles as the steady and dependable friend) and Frances Dee.
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Troma's most characteristic productions, including Class of Nuke 'Em High (1986), Redneck Zombies (1986), and Surf Nazis Must Die (1987), take exploitation for an absurdist spin. Troma's best-known production is The Toxic Avenger (1985); its hideous hero, affectionately known as Toxie, was featured in several sequels and a TV cartoon series. One of the few successful B studio startups of the decade was Rome-based Empire Pictures, whose first production, Ghoulies, reached theaters in 1985. The video rental market was becoming central to B film economics: Empire's financial model relied on seeing a profit not from theatrical rentals, but only later, at the video store.
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Over the next few years Kelly would only play smaller roles in such films as No Time for Love (1943), Coney Island (1943), Sweet Rosie O'Grady (1943), Up in Arms (1944), Wing and a Prayer (1944), and Nob Hill. He would have his next featured role in the 1945 B-film, The Tiger Woman, in the role of Sylvester. In 1946 he had the featured role of Sammy in Joe Palooka, Champ, the first film in the Joe Palooka series. After small roles in Blue Skies (1946), The Mighty McGurk (1947), and Ladies' Man, Kelly played the role of the Sheriff in the 1947 British drama, Captain Boycott.
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Jane, age six, and her 12-year-old sister Ruth (1909–2001) formed a singing vaudeville act known as The Frazee Sisters.The New York Times Biography of Jane Frazee The act broke up in 1940, when Jane landed a leading role in the B film Melody and Moonlight (1940) for Republic Pictures. Shortly after the film's release she was signed by Universal Pictures and was featured in Buck Privates, the high-grossing 1941 comedy/World War II film starring Bud Abbott and Lou Costello. The strong impression she made in that film elevated her to leading-lady roles in Universal's popular "B" musicals, usually appearing opposite Robert Paige.
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According to MGM records the film earned $346,000 in the US and Canada and $400,000 elsewhere, resulting in a loss of $517,000. In their survey of British B movies, Steve Chibnall and Brian McFarlane describe Time Bomb as "a slickly made suspense thriller with a twist in the tail" that "pointed the direction for British second features over the next decade": "Its compact story, clear narrative trajectory, convincing location work and engaging central performance augmented with entertaining character studies, all provided a template for smaller British production outfits looking to give their films some international appeal."Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 49.
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According to the film's credits, Naked Evil is a co-production of Protelco Films and Gibraltar Films Ltd. and was filmed at Rayant Studios, Bushey Heath, Herts, England. The film is set in the fictitious city of Middlehampton. Half the budget of £60,000 was provided out of the pocket of famed executive producer Richard Gordon after Columbia Pictures Corporation refused his request to produce the film as a full-colour A feature and instead specified that it be a black-and-white B film, which British film historian John Hamilton says guaranteed it a 'limited shelf life' at a time when colour films were becoming more common.
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Dore returned to Los Angeles where she began acting in silent pictures and two reelers such as Johnny's Week-End and Adam's Eve, before moving on to full feature talkies. First receiving top billing in minor pictures like Beyond London Lights (1928), then continuing with minor roles alongside such stars as Clara Bow in The Wild Party (1929). In 1931, she obtained a contract from Warner Brothers, and had supporting roles in Union Depot (1932) and The Rich Are Always with Us (1932) with Bette Davis. She met and married independent or B film producer Burt Kelly, who, along with Sam Bischoff and William Saal, headed KBS productions.
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In the 1950s, he appeared in numerous farces and in repertory theatre. In 1959, he made quite a splash as Lord Plynne in Frederick Lonsdale's Let Them Eat Cake Although popular, his motion picture career was less successful than his brother's. He began by supporting the Aldwych farceurs before being handed his first lead in a weak B-film with Renee Houston and Binnie Barnes, Their Night Out (1933). His most successful solo film of the mid-1930s was Hello Sweetheart (1935); like most of Hulbert's starring comedies, however, its ambition was strictly small-scale; it seemed that British studios simply didn't see him as a major star.
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TV Guide gave the film 2.5 out of four stars, calling it a "good programmer" ; and Mystery File wrote, "after a slow beginning, I’d have to say that halfway into the film if not earlier, I was hooked to the screen, waiting for the answer. A minor film, to be sure, but recommended, definitely so." The film historians Steve Chibnall and Brian McFarlane describe it as "a work of genuine ideological dissonance which questioned the conventional wisdom about crime and punishment", and they note that Kinematograph Weekly said at the time that Offbeat "carries a kick of one twice its size".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 59.
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The parts of a flying spot scanner: (A) Cathode-ray tube (CRT); (B) film plane; (C) & (D) dichroic mirrors; (E), (F) & (G) red-, green- and blue-sensitive photomultipliers In the United Kingdom, Rank Precision Industries was experimenting with the flying-spot scanner (FSS), which inverted the cathode ray tube (CRT) concept of scanning using a television screen. The CRT emits a pixel-sized electron beam which is converted to a photon beam through the phosphors coating the envelope. This dot of light is then focused by a lens onto the film's emulsion, and finally collected by a pickup device. In 1950 the first Rank flying spot monochrome telecine was installed at the BBC's Lime Grove Studios.
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It was one of 15 films selected by Steve Chibnall and Brian McFarlane in The British 'B' Film, their survey of British B films, as among the most meritorious of the B films made in Britain between World War II and 1970. They noted that it "develops its issue with the venalities of local government and sub-standard housing in calm and sufficient detail to establish its seriousness of purpose", which was "skillfully interwoven with the elements of personal drama". They added that "the screenplay seems to have been worked on with rather more care than was routinely the case with B films". They also praised the "carefully observed performance" by Jill Esmond, "a fine, undervalued stage actress".
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That season also saw Marcus produce a "tone film", Metropolitan Nocturne, wherein there was no dialogue, instead a musical composition, in this instance the symphony of the same name by Louis Alter, was interpreted on the screen using all pantomime. Shortly after it was announced that the RKO film shorts program for 1936-37 would consist of 36 films, including 12 musicals, Marcus' contract was renewed by Sam Briskin, head of the studio. Before the end of the year Marcus was promoted to Briskin's assistant, wherein he was responsible for overseeing the work of several producers' output, primarily handling the studio's B-film output. With this promotion Marcus finally relinquished his direct control over the RKO short film production.
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She made her stage debut as an understudy to Vivien Leigh in Peter Brook's revival of Titus Andronicus with Laurence Olivier. In July of that year, she made her London debut at the Stoll in the same production. In 1958, she made her film debut in a thriller, entitled Violent Moment (1958), which was followed by several more roles in the films Doctor in Love (1960), "Jigsaw" (1962), A Shot in the Dark (1964) and several B-film thrillers. Meanwhile, her theatrical career had taken off with roles in Verdict (Strand), in which she played Helen Rollander; Detour After Dark (Fortune Theatre), Horizontal Hold (Comedy Theatre); Patrick Peace Hotel (Queen's); The Winter's Tale (Cambridge Theatre) and Flint (Comedy Theatre).
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Hiring an unknown New York actress, Lee Strasberg-trained Hilligoss, and otherwise employing mostly local talent, Harvey shot Carnival of Souls in three weeks, on location in Lawrence and Salt Lake City, using a script penned by Centron associate John Clifford. Harvey also played an uncredited role as the film's most prominent "ghoul." Originally marketed as a B film and released by an upstart distribution company that quickly went bankrupt, Carnival of Souls never gained widespread public attention upon its original release but today has become hailed as a cult classic. Set to an organ score by Gene Moore, Carnival of Souls relies more on atmosphere than on special effects to create its mood of psychological horror.
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In 2008 the event was held on October 4, at the Helene Zelazo center on the University of Wisconsin- Milwaukee campus. 2008 MWSFF Poster It featured the movies Turbo by Level 1 Productions, The Massive by Tanner Hall and Redbull, Slamina by 4bi9 productions, Reasons by Poorboyz Productions, Such is Life by Rage Productions, Head for the Hills by Meathead Productions, and Thinking out Loud by B-Film Media. Free products from sponsors were given away, including skis, goggles, hats, gloves, shirts, stickers, energy drinks, etc. An after party was held at the Thirdward headquarters to show the movies FTW (Fun Times in Wisconsin) by BP Media, and Hunting Yeti by Nimbus Productions.
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Retrieved 1/4/07. The growth of the cable television industry in the 1980s helped support the low- budget film market, as many B movies quickly wound up as "filler" material for 24-hour cable channels or were made expressly for that purpose. The broadcast version of the midnight movie remained popular: the nationally syndicated Movie Macabre package starring Cassandra Peterson—aka Elvira, Mistress of the Dark—was essentially a brassier copy of The Vampira Show, presenting mostly low-budget horror films interspersed with Elvira's satiric commentary and abundant display of cleavage. The video rental market was also becoming central to B-film economics: Empire's financial model, for instance, relied on seeing a profit not from theatrical rentals, but only later, at the video store.
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In 1957, he took the role of Professor Walgate in the science fiction B film Fiend Without a Face, whose hero was played by Marshall Thompson, and whose plot had Canada attacked by mutated caterpillar-like creatures made of human spines and brains. During a period of steady cinematic work, he also found time to portray a "testy old millionaire" in Carry On Regardless in 1961. A year before his death in 1971, he made both his final television appearance and his last film. In a dramatic enactment during an edition of the BBC arts magazine Omnibus, he took the part of French painter Renoir in a piece entitled "A Requiem for Modigliani", describing the final part of the Italian artist's life, and his love affairs.
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The RZA directed film which starred Russell Crowe, Cung Le, Lucy Liu also featured Pam Grier. Benn played a plantation owner.Screen Rant, Nov 02, 2012 - 'The Man with the Iron Fists' Review By Kofi Outlaw Benn's last film role was as the Big Boss in the Scott McQuaid directed sci-fi B film Space Ninjas that was released in 2019. The film starred Dirk Benedict.The Fan Carpet, 15 July 2019 - Plastic Monkey Films’ Debut Feature SPACE NINJAS Featuring Battlestar Galactica Legend is Dirk Benedict is NOW Available On Amazon PrimeThe Echo, 14th November 2018 - News, Southend-born filmmaker to screen debut Malaysian film at town's horror festival By Ellis Whitehouse His last film was a documentary short, The Big Boss Remembered.
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David Geffen was one of the original producers of the off-Broadway show and he began planning to produce a feature film adaptation. Originally Steven Spielberg was to executive produce the film and Martin Scorsese was to direct, Scorsese wanting to shoot the film in 3D even, but production was stalled when a lawsuit was filed by the original film's screenwriter and actor, Charles B. Griffith.Cinefantastique, Volume 14, No 2 (December 1983/January 1984), "Little Shop of Horrors: Corman's now- classic B-Film ends up on stage - and in court" by Dennis Fischer John Landis was also attached to the project for a time. Geffen then offered the film to Frank Oz, who was finishing work on The Muppets Take Manhattan around the same time.
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The Voice of Merrill (also known as Murder Will Out) is a 1952 British mystery film directed by John Gilling and starring Valerie Hobson and James Robertson Justice. The Voice of Merrill was made by Tempean Films, the company owned by the film's producers Monty Berman and Robert S. Baker, which between the late 1940s and the late 1950s specialised in turning out low-budget B-movies as unpublicised second-features for the UK cinema market. On its release however, The Voice of Merrill was recognised by its distributors, Eros Films, as unusually sophisticated and stylish for a B-movie, and was elevated to the status of co-feature in cinemas.Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 134.
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The show's standout number, "September Song", became a popular standard. So did the title song of Anderson and Weill's Lost in the Stars, a story of South Africa based on the Alan Paton novel Cry, The Beloved Country. Anderson's long-running 1927 comedy-drama about married life, Saturday's Children, in which Humphrey Bogart made an early appearance, was filmed three times – in 1929 as a part-talkie, in 1935 (in almost unrecognizable form) as a B-film Maybe It's Love and once again in 1940 under its original title, starring John Garfield in one of his few romantic comedies, along with Anne Shirley and Claude Rains. The play was also adapted for television in three condensed versions in 1950, 1952 and 1962.
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The parts of a CCD scanner, like a FDL, Quadra, Shadow and SDC 2k-4k: (A) light source; (B) film plane; (C) & (D) prisms and/or dichroic mirrors; (E),(F) & (G) red-, green- and blue-sensitive CCDs. The Spirit DataCine opened the door to the technology of digital intermediates, wherein telecine tools were not just used for video outputs, but could now be used for high-resolution data that would later be recorded back out to film. The DFT Digital Film Technology, formerly Grass Valley Spirit 4K/2K/HD (2004) replaced the Spirit 2000 Datacine and uses both 2K and 4k line array CCDs. The SDC-2000 did not use a color prisms and/or dichroic mirrors, color separation was done in the CCD.
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For over 20 years, Cronin-Stanley and Cronin have been patrons to a DVD membership club, The Renown Film Club, for fans of B-film classics. Cronin had worked for The Rank Organisation and Central Office of Information, and bought the rights to several libraries that owned films that air on TPTV, such as much of the Southern Television library, and originally licensed them out to terrestrial channels. Many of the films aired on Talking Pictures TV are available to buy on DVD, often sold as compilations under different genres, through the distributing company, both online and through the Renown's telephone service. Each DVD set is full of films made between the 1930s and 1960s, and also include special features, such as interviews and history.
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After spending a few years running his own business, Grauman eventually took a job as stage manager at NBC's studios in Los Angeles. During his stint working at the network, he and relative (by marriage) Alan Armer developed a talent-show type program that proved popular, setting the mold for shows like Star Search and American Idol to follow. In 1957, Grauman turned to films, directing "The Disembodied" for the "B film" division of Allied Artists Studios, which was headed by friend Walter Mirisch. Although he directed only six theatrical films, Grauman had one of the most active and long lasting television careers in history which included work on such shows as The Untouchables, The Fugitive, Route 66, The Streets of San Francisco, The Twilight Zone and Murder, She Wrote.
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She made her film debut in the B film Too Many Parents (1936), followed by another B picture, Border Flight, before being given the lead role opposite Bing Crosby in the musical western Rhythm on the Range (1936). Unhappy with the opportunities the studio gave her, Farmer returned to stock theater in 1937 before being cast in the original Broadway production of Clifford Odets's Golden Boy, staged by New York City's Group Theatre. She followed this with two Broadway productions directed by Elia Kazan in 1939, but a battle with depression and binge drinking caused her to drop out of a subsequent Ernest Hemingway stage adaptation. Farmer returned to Los Angeles, earning supporting roles in the comedy World Premiere (1941) and the film noir Among the Living (1941).
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At IGCSE level, for courses at secondary three and four, Markham offers classes in Additional Mathematics, Art & Design, Business Studies, Computer Studies, Co-ordinated (double) Science, Design and Technology (three options), Drama, First Language English, Food and Nutrition, French, Geography, History, Information Technology, Literature in both English and Spanish, Mathematics, Music, Physical Education and First and Foreign Language Spanish. At IB Diploma level, Further Mathematics, Biology, Chemistry, Computer Science, Design Technology, Economics, English A and B, Film Studies, French B, Geography, Global Politics, History, Mathematics, Music, Physics, Psychology, Spanish A and B, Theatre Arts and Visual Arts are currently all being taught at Higher Level. In addition to those, Environmental Systems and Sports, Exercise and Health Science are also available at Standard Level. No school in this continent and precious few outside it offers the range of subjects that Markham does.
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TV Guide wrote, "The suspense is well built in this finely constructed feature": while Sky Movies called it "An unheralded low-budget thriller which contains twice as much suspense as many more lavish productions. Taut, crisp, with a conspicuous absence of big name stars, it is a prime example of the British B movie at its best. With a bit of Hitchcock here and a touch of Rififi there (a 15-minute sequence is acted in complete silence), the suspense is built up to a climax which leaves one hoping that just this once, crime will be allowed to pay." It was one of 15 films selected by Steve Chibnall and Brian McFarlane in The British 'B' Film, their survey of British B films, as among the most meritorious of the B films made in Britain between World War II and 1970.
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Mademoiselle Fifi is a 1944 American period film directed by Robert Wise for RKO, in his solo directorial debut. It was written by Josef Mischel and Peter Ruric based on two short stories by Guy de Maupassant, "Mademoiselle Fifi" and "Boule de Suif". The film features an ensemble cast headed by Simone Simon, John Emery and Kurt Kreuger, and was produced by noted B-film producer Val Lewton. The movie is set during a time when the Prussian Army occupied part of France in 1870. Since it was produced in Hollywood during the Second World War, in the same year Paris was liberated from Nazi rule, it contains elements of wartime propaganda, evoking Jeanne D’Arc among other heroes of French history, and holding up French people in occupied territory who follow orders as objects of pity or outrage, depending on their circumstances.
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Review aggregator website Rotten Tomatoes gave the film an approval rating of 37% based on 41 reviews and an average rating of 5/10. Variety's Ben Kenigsberg called the film a "serviceable action vehicle", while on the other hand, Nick Schager in The Village Voice described it as a "subpar action movie", that is "grim" and "formulaic", while singling out Gina Carano’s "badass-beauty charm". In The New York Times, Andy Webster also praised Gina Carano but lamented that she was "trapped in B-film depths", hoping that someone would "give her a better script and director". Writing for the New York Daily News however, Elizabeth Weitzman was more critical of Carano, stating that while "an undeniably impressive force" she was "not convincing" as an actress, but noted that the film had "a strong supporting cast, some pretty scenery and a taut mystery".
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Beyond Tomorrow (also known as And So Goodbye and Beyond Christmas) is a 1940 American fantasy film directed by A. Edward Sutherland and produced by noted cinematographer Lee Garmes; Garmes was one of a handful of cinematographers who became film producers."Hecht May Make Pix on Coast, Not in N. Y.; Lee Garmes mentioned as producer of Beyond Tomorrow'." Film Daily, April 25, 1940, p. 2. Structured as a B film, the production did not engage any stars who would receive billing above the title, relying instead on a quartet of veteran character actors, Charles Winninger, Maria Ouspenskaya, C. Aubrey Smith and Harry Carey, second-tier young leads Richard Carlson and Jean Parker as well as "other woman" Helen Vinson, a minor lead/second lead actress during early and mid thirties, here approaching the end of her career.
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The Radio Times: "this above-average programme filler has a passable plot (involving a little bit of skulduggery in suburban Brighton) that's kept moving swiftly and painlessly by director Jim O'Connolly...Vaughan plays with a dogged determination that is efficient, engaging and quite at odds with the more sinister characterisations he would essay later in his career". BFI Screenonline described the film as "an utterly charming B-film comedy-thriller that emphasises character as much as plot and makes full use of extensive location footage." The film historians Steve Chibnall and Brian McFarlane selected Smokescreen as one of the 15 most meritorious British B films made between World War II and 1970. They describe it as an "uncommonly neat little insurance racket-cum-murder thriller" and praise the way that its comic relief is "built into the fabric of the film's main narrative action".
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Gidget (1959) set off a wave of light-hearted teen beach party and surfing movies that alluded to sex but respected 1950s taboos, conformism, and traditional values. Love, sex, marriage, divorce, alcoholism, dysfunctional families, and adultery were themes of A Summer Place featuring Sandra Dee and Troy Donahue as teen lovers and Dorothy McGuire and Richard Egan as their adulterous parents. Low budget teen films punctuated with rock and roll soundtracks were produced through the decade with provocative titles such as High School Hellcats, High School Confidential, Girls in the Night, Girls Town, Hound-Dog Man, Lost, Lonely, and Vicious, Running Wild, Hot Rod Girl, Juvenile Jungle, Teenage Devil Dolls, and the Ed Wood-scripted The Violent Years. Teen and sci-fi genres were wedded in B-film The Blob with Steve McQueen in his first starring role while teen horror flick I Was a Teenage Werewolf launched Michael Landon's Hollywood career.
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Joseph Cornell's 1936 found-film montage Rose Hobart was made entirely from splicing together existing film stock that Cornell had found in New Jersey warehouses, mostly derived from a 1931 "B" film entitled East of Borneo. Cornell would play Nestor Amaral's record Holiday in Brazil during its rare screenings, as well as projecting the film through a deep blue glass or filter, giving the film a dreamlike effect. Focusing mainly on the gestures and expressions made by Rose Hobart (the original film's starlet), this dreamscape of Cornell's seems to exist in a kind of suspension until the film's most arresting sequence toward the end, when footage of a solar eclipse is juxtaposed with a white ball falling into a pool of water in slow motion. Cornell premiered the film at the Julien Levy Gallery in December 1936 during the first Surrealist exhibition at the Museum of Modern Art (MoMA) in New York.
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In March 1964 Richards appeared as a musical guest on the New Steve Allen Show. In 1965 she got a short cameo as a bar patron in Angel’s Flight, a lesser known B film. After this time her singing career never regained the traction she enjoyed in the late 1950s and early 1960s. By the mid-’70s Richards became the resident singer in the lounge of the upscale Hotel Bel-Air in Los Angeles backed by pianist Bud Herrmann. Film critic Rex Reed, “She performed half a set seated at my table, with a mic in one hand and a scotch in the other,” he recalls. “She sang like a dream.” Her last major singing tour was in December 1981 (in Japan). She had lost her regular singing engagement at the Hotel Bel-Air when coming home from Japan and was in serious money problems due to her second husband's financial dealings.
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After the war, he joined the J. Arthur Rank charm school and after supporting roles in films such as Hungry Hill, Frieda and The October Man (all 1947), steadily established himself as a lead actor in films of the late 1940s, including The Mark of Cain (1947), My Sister and I (1948), Portrait from Life, Marry Me and A Boy, a Girl and a Bike (all 1949). His leading man status in prestige films was brief and he found himself as the star of 'B' movies during the fifties and early sixties, with the film writer David Quinlan calling him "the Dennis Price of the B film." These second features included Guilt Is My Shadow (1950), Stolen Assignment (1955), Miss Tulip Stays the Night (1955) and Suspended Alibi (1957), with his final lead roles coming in the 1962 films Serena, Flight from Singapore and Night of the Prowler. During this period he also took on supporting roles in bigger budget movies such as Ivanhoe (1952) and I Was Monty's Double (1958).
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In November 1937 he became an American citizen.George Brent Now a Citizen New York Times 27 Nov 1937: 21. Brent made Gold Is Where You Find It (1938) with Olivia de Havilland, then made Jezebel (1938) with Davis - only he was the second male lead, with Henry Fonda playing Davis' main love interest. Warners put him in an action "B" film with Humphrey Bogart, Racket Busters (1938) then he was reunited with Francis in Secrets of an Actress (1938). He was in the military drama Wings of the Navy (1939) with de Havilland and John Payne. He appeared in Dark Victory (1939) with Davis, which was a huge success. So too was The Old Maid (1939) where Davis and Miriam Hopkins fought over Brent. Both films were directed by Edmund Goulding. 20th Century Fox borrowed Brent for a key support role in The Rains Came (1939). At Warners he supported James Cagney and O'Brien in The Fighting 69th (1940).George Brent Spent Early Years Amidst Danger and Thrills The Times of India 30 Dec 1939: 16. Paramount borrowed him for Adventure in Diamonds (1940), where he had top billing over Isa Miranda.
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TV Guide gave the film two out of five stars and called it an "Average comedy"; in the Radio Times, David McGillivray also rated the film two out of five stars, calling it "no great shakes as comedy, but interesting as a vehicle built around a much-loved British star at the end of his career" whereas Britmovie noted, "Twenty years after appearing on stage in this lively Rex Frost play, in his penultimate film Gordon Harker reprises the role of a belligerent hotel waiter having to use all his wit and cunning to save his job. This low-budget film features Harker in typically jovial form, dominating comic proceedings with typical polished expertise, and with a less assured cast this thin comedy wouldn’t be worthwhile. There are early roles for Billie Whitelaw and Janet Munro, and the doughty Irene Handl is cast as the hotel’s spirited cook." It was one of 15 films selected by Steve Chibnall and Brian McFarlane in The British 'B' Film, their survey of British B films, as among the most meritorious of the B films made in Britain between World War II and 1970.
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Suvari made one-episode appearances in Psych in 2010, and in The Cape in 2011, and also had a two-episode arc as the Black Dahlia in Murder House, the first season of the anthology horror series American Horror Story. In the independent romantic comedy You May Not Kiss the Bride (2010), opposite Dave Annable, Katharine McPhee and Rob Schneider, Suvari starred as the psychotic assistant of a pet photographer. The film debuted at the Sonoma International Film Festival and was released for selected theaters and VOD, garnering largely negative reviews. Blu-ray.com considered the film to be "a noisy, unlikable distraction" that "depends on Suvari and Schneider to carry the comedy workload, which is about as appealing as it reads". In 2011, she also starred in the made-for-television film No Surrender, as a writer having a deranged stalker, and in the B film Restitution, opposite Tom Arnold. Suvari at the 256x256px Suvari returned to the American Pie franchise when she played for the third time her role of Heather in American Reunion (2012), revolving around the original protagonists as they approach middle age and prepare for a summer reunion.
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