#Chloe Love is Calling You (1934)

[thewarmestplacetohide]

Dread by the Decade: Chloe, Love is Calling You

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0 Stars

Plot: The biracial daughter of a voodoo priestess returns home to exact revenge on a plantation owner.

Review: This film is a glimpse into the true evil of 1930s American racism and the manner in which Hollywood kept it alive. It is irredeemable, with every inch of it having been infected by antiblackness.

Year: 1934 Genre: Occult Country: United States Language: English Runtime: 1 hour 2 minutes

Director: Marshall Neilan Writer: Marshall Neilan Cinematographer: Mack Stengler Editors: Joseph Josephson, Helene Turner Composer: George Henninger Cast: Olive Borden, Reed Howes, Molly O'Day, Philip Ober, Georgette Harvey

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Story: 0/5 - Though it is boring and barely coherent, its biggest sin is that it came from a place of pure hatred. It was clearly designed to reinforce the evil idea that white plantation owners were noble heroes and black people were lazy, stupid, evil predators.

Performances: 1.5/5 - Some performances are fine but generic, some are bad, and some are so offensive it's hard to watch.

Cinematography: 2.5/5 - Almost entirely composed of boring medium and long shots.

Editing: 1.5/5 - Stilted and often abrupt.

Music: 2/5 - Generic.

Sets: 2.5/5 - It's all very cheap but some are sufficient enough.

Costumes, Hair, & Make-Up: 2/5 - Unmemorable costumes that don't change.

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Trigger Warnings:

The entire story is propaganda designed to reinforce the idea that black people are dangerous and stupid, Voodoo is murderous devil worship, white southerners are pure heroes, and ending slavery was bad

A biracial lead character and a black character are both played by white actors--there isn't blackface make-up, but they are still performing blackface

Mild violence

Attempted rape (not graphic)

Real animal cruelty and murder (a snake is bludgeoned to death, an alligator is wrestled)

[sunkendiaries]

1.16.24

Tuesday, January 16, PTD is in New York. They sent us a low-key little video to watch beforehand - which was kinda of kooky but, really nice. She showed us NYC from her balcony and allowed us to listen to the city while describing the deafening silence in W.E.B Du Bois' “The Comet”.

We began class talking about The Greatest Taboo - Interracial Relationships. PTD made an off-the-cuff joke about Halley Berry (This class feels so black - honestly probably the most black space I’ve been in thus far at UCLA) and then she proceeded to note that there hadn’t been a movie where a black man had sex that grossed more than 100 million before CREED (2015).

We proceeded to talk more about Jim (the messenger), the white woman (Julia), and the importance of Du Bois writing both their individual perspectives in “The Comet,” as a key into the lives of these two people from different worlds on the same planet meeting for the first time. 

That then leads to “Guess Who’s Coming to Dinner” and two movies to watch:

The World, The Flesh, and The Devil 1959

Chloe, Love is Calling You 1934 ( The Tragic Mulatto with a “twist”).

[elcinelateleymickyandonie]

PHILIP OBER.

Filmography

1934: Chloe, Love Is Calling You

1938: Little Me

1950: The Magnificent Yankee

1950: The Secret Fury

1950: Never a Dull Moment

1951: The Unknown Man

1952: Washington Story

1952: Come Back, Little Sheba

1953: The Clown

1953: The Girls of Pleasure Island

1953: Scandal at Scourie

1953: From here to eternity

1954: About Mrs. Leslie

1954: Broken Lance

1956: Calling Terry Conway (TV)

1957: Tammy and the Bachelor

1957: Escapade in Japan

1958: The High Cost of Loving

1958 - Ten North Frederick

1958: Torpedo Run

1959: The Mating Game

1959: North by Northwest (With death on the heels)

1959: Beloved Infidel

1960: Elmer Gantry

1960: Let No Man Write My Epitaph

1960: The Facts of Life

1961: The Crimebusters

1961: Go Naked in the World

1963: The Ugly American

1964: The Brass Bottle

1966: The Ghost and Mr. Chicken

1968: Assignment to Kill.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Philip_Ober

[lovelyirony]

No Shelf-Awareness

I’m just trying to work out these cards I’ve been dealt -Rumour, Chloe Howl

Bucky doesn’t necessarily like meetings. He views them as a waste of time, and they could just as easily give him a paper with all the information. Clint says it’s so if they have questions they ask them there instead of making a mistake on the field.

“They allow mistakes?” Bucky asks, as blandly as can be.

“You make me so sad on so many levels,” Clint says, clapping his shoulder. “Yes, you’re allowed to make mistakes. Why the hell do you think Steve is allowed on-field?”

Bucky laughs at that one.

The meeting in question is about Iron Man. The red and gold suit with a man inside of it, apparently. SHIELD wants his identity but more importantly, the technology.

“If you haven’t found anything else like it, what makes you think that he wants to share it?” Bucky asks. “Just let it happen.”

“We can’t just ‘let’ this happen, Barnes,” Fury says, voice steady and eye trained on him.

“Why not?” Bucky asks. “He’s taking care of criminals on a corporate level. We can’t touch that without bringing more attention to agents.”

“Which is why we’re integrating,” Fury says.

“Not fast enough,” Bucky says. “He doesn’t need to gain trust. With integrating, there’s possibility of a double agent. They get paid off and it’s more than what you promise for a salary.”

“I assure you our agents aren’t that low.”

“Oh and you kept them all from Hydra?” Bucky snaps. “Because as I recall, Rumlow was pretty damn happy to be one of Pierce’s lapdogs, so—”

“Enough,” Fury snaps. “Enough from you, Barnes.”

“We could be dealing more directly with the people we have that actually need to be stopped instead of a damned robot who happens to like taking down illegal corporations that were on our to-do list anyway,” Bucky snipes back. “I’m leaving.”

“Don’t bother expecting yourself on the next mission,” Fury calls after him.

He gets a nice and shiny metal finger in response.

Bucky then decides to treat himself to a trip to the bookstore. He’s already read the last book twice, and he needs a new one.

It’s a Friday, and kids are getting out of school. He pays them little mind as he walks with purpose, taking note of possible threats, a new donut shop

The bookstore smells nice, like coffee and sugar. Bucky wanders through it, keeping an eye out for the owner.

He finds him huddled at a table with a group of teenagers, explaining some sort of math problem, laughing at one’s joke. He has glasses perched on the end of his nose, giving him quite an amusing and cute appearance. Bucky smiles to himself a little as he disappears into the stacks, looking through the new arrivals. He finds two particularly interesting ones.

“That one is really good,” comes a voice from behind him. Bucky turns, seeing Tony. He looks nice today. He’s wearing bright yellow shoes. “I like it.”

Bucky takes another look at the cover.

“What else can you recommend? I’m kind of a fast reader.”

(He is not a fast reader. Well, not really. But if you stay up all night only reading because you have too many nightmares, then it counts. Technically.)

Tony puts about four or five books into his arms before he realizes that he hasn’t checked prices or anything.

“Trust me, this is fine,” Bucky says, grinning. “Thanks, Tony.”

“No problem…huh. I just realized I don’t actually know your name.”

Tony does, in fact, know James Buchanan Barnes’ name. Quite well, in fact. He’s the one who Hydra trained to kill people and attempt to kill Howard and Maria Stark, who are still living. They moved to Italy, by the way. No, Tony doesn’t care. Just makes it easier to break into the New York home on occasion, fix up the old workshop.

(He can’t use his own apartment as a base for Iron Man. That would be utterly ridiculous.)

But for this purpose, he does actually need to learn Bucky’s name.

“I’m Bucky,” he says.

“Parents hated you, did they?” Tony teases.

“Only slightly less than my idiot friend who gave it to me,” Bucky says, grinning.

“Idiot friends are like that,” Tony says, smiling. “Well, do you want to sit down and read for a bit? Chairs are open, if you’d like.”

“Sure. Mind if I order a coffee?”

“Of course,” Tony says. “What do you want?”

Bucky did not know that there was more coffee. Well…correction. He knew that there was more to coffee than black. There had to be, obviously. He just wasn’t expecting the menu to be so extensive. He looked at it for a few moments while Tony waited expectantly.

“Um, wow. I don’t drink a lot of coffee, but um, what would you recommend?”

“I personally love the lavender latte we’ve been trying out,” Tony says. “I’ll make you one and if you don’t like it, I’ll replace it free of charge.”

Bucky not drinking a lot of coffee is a lie. Steve joked that he needed a tank of coffee a day to even function. Bucky just usually took it with a bit of sugar and pronounced it good.

Now this was amazing. Bucky loved the drink, loved how different the flavor was. He could drink about twelve more of these if he really wanted to.

“Tony, this is amazing,” Bucky says, expressing pure delight over it. “How do you make coffee this good?”

“You act as if you’ve never had a latte,” Tony says, laughing. (It’s not acting.) “But here, let me explain…”

Bucky could hear Tony Jarvis explain things for ages. He’s really good at it, like he’s used to explaining how things go all the time. Bucky finds it relaxing.

It is at this point that a kid in a t-shirt comes up.

“Hey, Mr. Jarvis—”

“Call me Tony, Pete,” Tony responds. “What’s next on the homework agenda?”

“We have to write a persuasive essay and since you told us you took marketing, we figured you could help.”

“Not sure how much help I’ll be, but sure,” Tony says. “Bucky, I’ll talk to you later. Enjoy the books. If you finish any while you’re here, just put them back on the re-shelving cart by the door, okay?”

“Yes, Sir!” Bucky says, throwing a mock salute. Tony snorts, saluting lazily back.

Bucky gets sucked into the first book. He relates to how out-of-place the main character feels. He doesn’t notice the sky getting dark until he sips his coffee and it’s cold that he looks up.

Tony has been staring at him for the better part of an hour. Not that he knows that. He just knows that Tony has perhaps been gazing for a minute or two.

“Oh god, please tell me I’m not staying past close,” Bucky says.

“You’re not, don’t worry,” Tony says, laughing. “You would’ve known if you were. No, there’s thirty minutes more left, if you want to keep reading. No rush, sweetheart.”

Bucky goes back to his book with a nod, hoping that Tony doesn’t catch his cheeks going bright red. He remembers being called sweetheart before, but this is drastically different from 1934 for all the right and wrong reasons. (Right because finally he can tell a guy he’s cute without getting mauled or having to whisper it near-six-feet-under. Wrong because Tony is running a business and Bucky met him a day ago.)

Tony shifts nervously around the shop. He had planned on closing early, getting into the suit with Rhodey and doing some recon.

Judging from the texts from Rhodey, so was he:

Bitch where tf are you. Stoopid.

Well excuse me honeypie, but I got held up. A customer is still here!

Kick them out tf????? r u on crack?

No you stupid-ass—listen. I just can’t make it

Ohhhh this is your bucky-boy. This is hilarious. Yeah leave the store open until he leaves. Idk why he isn’t on the roster with the rest of the Avengers this week. Should be. Damned good guy. lmk if he’s a booty call 

I won’t talk to you for a week.

Thank god!

Tony huffs, clicking his phone off and returning to wiping down the counters and rearranging the records. Bucky walks up, putting the books at the register.

“I didn’t realize people still played records,” Bucky says, looking at the room adjacent.

“I’ll make sure that you get to play some next time you’re here,” Tony says. “But let me ring you up, okay?”

Bucky hands out the amount owed and sticks three dollars in the tip jar. Tony thanks him and smiles, and Bucky thinks he’ll have to start separating his bills more so that he can see that smile more often.

-

And then, of course, he gets a call from his phone.

“You’re needed,” Natasha says. “Come over. Now.”

“What happened to me being banned?”

“You’re a sharpshooter and a good weapons analyst. Fury would be stupid to reject that. Get here. Now.”

She hangs up. Always keeps it short and sweet, that Romanov. Bucky sighs, figuring out if he has enough time to go to his apartment and stash the books, or if he’ll have to leave them at headquarters.

He has to leave them at headquarters. He gets a look from Steve and Clint.

“Find a new hobby?” Steve asks.

“Of a sort,” Bucky says. “Got interrupted. What’s the plan?”

“Both War Machine and Iron Man are attacking Hammer Industries. Again.” Clint says, rolling his eyes. “You know, just when you thought they would switch it up. This is the third time in a row. Third time’s the charm and all that…”

Bucky doesn’t trust this for a wide variety of reasons. 1.) Iron Man is smarter than all of them, as is War Machine. 2.) Three times? In a row? Something has to be going down.

“What has Hammer Industries been doing?”

“Other than building weapons and government contracts? Nothing out of the ordinary,” Natasha says.

“Government contract is a big deal ever since Stark Industries lost out,” Bruce adds. “CEO—Pepper Potts—decreed no more weapons. Not a very popular move on her part.” Yeah, Bucky could see that. His best is from Stark Industries, but he understands. Iron Man had released evidence about SI’s involvement in shady under-the-table deals, all at the direction of Obadiah Stane.

“So, why go after a government contract?” Bucky muses. “They know something we don’t.”

“That doesn’t matter right now, we’re getting both of them under custody,” Hill says from the cockpit.

It does matter, his conscious whispers, or else you’d still be staring at Tony from the bookstore. His focus returns to the books at his side. He didn’t notice it before, but the bookstore has its own stamp that it gives the inside covers. It’s cute. He must have stared too long, because Steve nudges his arm.

“I’m glad you found a place you like,” he says. “Where is it?”

For some unknown reason, Bucky doesn’t want to tell anybody.

“Just a bookshop,” he says, closing the cover. “Checked it out before coming here. Around the neighborhood.”

That’s all he says before the mission is engaged and he’s strapped with enough gear to kill a pack of bears. He would much rather be reading, but that’s not what he gets.

-

“Took you long enough,” Rhodey says over the mic. “You and Bucky have fun between the stacks?”

“Nothing of the sort,” Tony responds. “I cannot believe you would accuse me of impropriety, honey. Honestly.”

“I have literally seen you strip on a Tuesday morning because you had too many mimosas and Pepper wanted to see if you actually would.”

“Details darling, let’s focus on the now. What has our dear friend Justin been up to?”

“For one, his online security and the regular security absolutely suck. I already am printing out the evidence where I’m at. I think all we need is to destroy some stuff and then—”

Rhodey gets knocked aside by red, white, and blue.

Tony groans. Figures that they would catch onto the pattern. Tony knew he should’ve waited, but he didn’t want to get Hammer spooked and up and running again. They needed him out of the way, maybe introduce a better CEO or hell, a better company—

“Iron Man, stand down,” comes the loudspeaker of the jet.

“Fat chance,” he mutters, zooming away from one of Hawkeye’s projectile arrows. Seriously, they could have so much better range if he built them. Unfortunately for him, SHIELD apparently wants him on a silver platter, so that won’t be a nice future with the company.

War Machine is already leading the heavy hitters away. The hardest one to deal with is usually Thor, who doesn’t always have the most accurate shot but definitely doesn’t entirely miss. Especially with the hammer having some sort of recall, it’s difficult to avoid. Tony’s just happy that Winter Soldier is off the roster and away from—

Son of a bitch, no he’s not. He can see the arm from here, and curses.

“Platypus, we have a gleaming problem.”

“I thought he was off the roster!”

“Apparently Fury signed his permission slip for this field trip,” he replies. “What do we need to destroy? I have an idea.”

“A shipment of guns. I don’t recommend going anywhere near it, but of course you will not heed my advice.”

“Be a dear and lead the Widow in closer? I think I can do something.”

Winter Soldier is having a fun time. Usually the missions are a one-hit-wonder, so to speak. Iron Man and War Machine move and actually anticipate the shots, which is all sorts of fun. He just hopes that Steve can’t see his grin, or he’ll be in hot water for it. (Fun sucker.)

“Barnes do you have the shot!” Nat yells.

“I’ve had the damn shot, what the fuck do you want me to do against iron?” he yells back.

“It’s titanium-alloy, but I understand,” Iron Man says smoothly, touching down as lightly as a ballerina. “SHIELD not do the intelligence testing anymore? I understand. If they knew Hawkeye was on the team without it…”

Bucky wants to laugh. He really, really does. But he doesn’t. “Why are you at Hammer? What’s your game?”

“I’m surprised you ask,” Tony says, blinking. His helmet tilts to one side. Usually, no one at SHIELD asks any sort of question. This is…new. “Hammer’s selling under the table. War Machine and I are handling it.”

“You didn’t tell SHIELD about this, did you?”

“There’s a reason SHIELD wants me in handcuffs but the suit left to their own devices,” he says. “They’re not as trustworthy as you think, hot-shot.”

And then Iron Man dodges a blast, and the debris lands on the containers.

The company’s own fault. Clever. Bucky has to hand it to whoever is behind the mask, he’s smart.

Iron Man does a mock salute.

“Until next time, losers!” War Machine calls out.

“Do you think they know that War Machine has a tracking device?” Natasha asks. Clint shakes his head.

“Not sure. Probably not since we’ve been focusing on Iron Man. We’ll have to wait and see.”

Bucky turns, thinking. Iron Man had said that they’re not as trustworthy as they seem. What did he mean by that? How so?

-

Rhodey isn’t a fucking clown. Of course he knows they put a tracker somewhere on his suit. It’s recording audio, which Jarvis knows. Rhodey puts a finger to his lips as they touch down. Tony gets the hint immediately, taps out a message for Jarvis to scan and debug.

“Pest Control Initiative working now…” comes the smooth, lilting accent of Jarvis.

Once they’re out of harm’s way, Rhodey cracks a grin.

“Think they’ll like that?”

“Should fry the system for them for a little bit,” Tony says. “Which leads into me getting in. Thanks for putting up with that whole mess.”

“You owe me a century-old bottle of whiskey for Black Widow.”

“Get in line behind Pepper,” Tony says. “She’ll be at the cabinet on your left.” Rhodey snorts as they touch down at Stark Industries. Pepper is there with a raised eyebrow.

“Evening gentlemen,” she says. “Drinks are on the counter. Fruit juice, no alcohol. It’s a Thursday.”

“Thursday is Friday is Saturday,” Rhodey snarks, taking the glass anyway. “How was work today, Pep?”

“Horrible,” she groans, leaning back on her barstool. “Asshats keep trying to tell me what to do when it’s my company, technically speaking. Tony, how is your bookshop?”

“We’re getting more and more people in,” Tony says. “Record sales are nice, coffee is good too. I need to come up with a new idea for an iced coffee flavor. I’m coming up with nothing.”

“Hazelnut usually works well if you need something in a pinch,” she returns. “Did you manage to get into their system?”

“Success,” Jarvis cuts in smoothly. “I am well-integrated into their system; they have no idea I am there. Of course.”

Jarvis is a bit proud of that particular thing. Then again, he gets a big head when he’s successful.

“Good for you,” Rhodey says. “What can you tell us?”

“Employees have a shocking amount of free time and have made a donut tower.”

“The business, J,” Tony says.

“I am sorry, I was following your ever-amazing guidance for protocol,” Jarvis remarks. “SHIELD has an unprecedented number of holes in security. Files have gone missing. There are a few members that go on trips and check in at the ill-advised times.”

“What does that mean?” Pepper asks.

“When Peggy was running the show everyone had to check in at her time,” Tony says. “She also talked personally about it with everyone or assigned people to supervise if she couldn’t. It was more reliant on people and what you saw. With Fury, times became more technological. Not a bad thing, but not a fantastic thing either. With technology you could claim there was an issue checking in, or the computer lagged. It happens, and you can say that every once in a while unless if you’re me.”

“Because you built most of the systems,” Rhodey says. “So we know you’re at least decently smart.” Tony pokes his tongue out.

“Point is, a lot of the older members of SHIELD either say they didn’t get it, or get tech support to fix it later. Using their inability as an ability, most likely. Clever. I’m just wondering how far it goes.”

“We’ll find out in time,” Rhodey says. “Maybe when you take Bucky out for drinks, you can seduce him into giving you information.”

Pepper stills.

“Tony, you did what?!”

“Um…” Tony glares at Rhodey. “He kind of lives by my bookstore and doesn’t know I’m there? If that makes it better? I should go, I have inventory—”

“Stay,” Pepper says. “We are working on this and I am making sure that you don’t give away your secret because you fall in love.”

“I won’t fall in love!”

“Tall, dark, mysterious, and reads books? Please, I’m surprised I don’t see drool coming out of your mouth,” Pepper says. “Rhodey, did you know about this?”

“Yes. I didn’t tell you because it was funny.”

Pepper huffs. Tony sinks into a comfy lounge chair. It’s gonna be a long night.

[silent-era-of-cinema]

Olive Mary Borden (July 14, 1906 – October 1, 1947) was an American film and stage actress who began her career during the silent film era. She was nicknamed "The Joy Girl", after playing the lead in the 1927 film of that same title. Borden was known for her jet-black hair and overall beauty.

At the peak of her career in the mid-1920s, Borden was earning $1,500 a week. In 1927, she walked out on her contract with Fox after refusing to take a pay cut. By 1929, her career began to wane due to her rumored reputation for being temperamental[4] and her difficulty transitioning to sound films. She made her last film, Chloe, Love Is Calling You, in 1934 and moved on to stage work for a time. By the late 1930s, she had declared bankruptcy and stopped acting. During World War II, she joined the WACs. She was later honorably discharged with distinction after sustaining a foot injury during service. Borden attempted a comeback in films, however, she was hindered by her alcoholism and health problems.

In 1945, she began working at the Sunshine Mission, a home for impoverished women located in the skidrow section of Los Angeles. She died there in October 1947 of a stomach ailment and pneumonia at the age of 41.

Olive Borden was born in Richmond, Virginia on July 14, 1906. It was often erroneously reported that Sybil Tinkle was Borden's real name until the 1990s, when it was discovered that another woman had been confused with Borden. In a 1910 census report, her name is listed as Borden. Her father Harry Robinson Borden (1880–1907) died when she was a baby and she was raised by her mother Sybil "Sibbie" Shields (1884–1959) in Norfolk, Virginia, and Baltimore, Maryland, where she attended Catholic boarding schools. Through her father, she was a fourth cousin of Lizzie Borden. As a teenager, she persuaded her mother to take her to Hollywood to pursue a career in show business. To support themselves they opened a candy store and Olive worked as a telephone operator.

Borden began her career as one of the Sennett Bathing Beauties in 1922 and was soon appearing as a vamp in Hal Roach comedy shorts. Producer Paul Bern chose her for an uncredited role in his film The Dressmaker from Paris (1925). She was signed by Fox after being named a WAMPAS Baby Star in 1925 (along with her cousin, Natalie Joyce). Borden quickly became one of their most popular and highest paid stars earning a salary of $1,500 a week. She had starring roles in eleven films at Fox, including 3 Bad Men and Fig Leaves, both of which costarred her then-boyfriend George O'Brien. 3 Bad Men has also been featured at the Museum of Modern Art. During this time she worked with some directors who would go on to achieve major fame, including John Ford, Howard Hawks, and Leo McCarey.

Paramount Studios began a policy of 10% paycuts on any salary over $50 to recoup production costs, when Fox tried the same and cut her salary in 1927, Borden left the studio.[12] By this point she was a major silent film star. In making the transition to "talkies" she worked with a voice coach (to suppress her Southern accent). She was less successful, but still remained in demand as an actress, continuing to work for Columbia and RKO. She had cut her trademark hair into a short bob, and turned herself into a modern flapper. But Borden had trouble with the new look, losing her identity; she couldn't find her audience and this confused her waning public.

She made few movies in the early 1930s and her once promising career stalled, producing but one picture in 1932 (The Divorce Racket), and three in 1933 (Leave it to Me, Hotel Variety, and The Mild West ). Her last screen credit came in the 1934 film Chloe, Love Is Calling You, where she played a woman kidnapped at birth and raised as a child of mixed race. Some say that this once-lost film "is so bad it should've stayed lost." A pre-code movie made under Will Hays, it had little box office success and in some states (mostly southern) it was banned at the time of its release. Borden then moved to New York, where she had a brief stage career, and made a living on the waning vaudeville circuit.

During her acting career, Borden was one of the highest paid stars. She spent her money freely and by the late 1930s, she was broke. Borden then found work as a postal clerk and mail carrier and also worked as a nurse's aide. In December 1942, Borden joined the WAC's (the Women's Army Corps, the only place women could serve in the Army at that time) where she served as an ambulance driver and received an Army citation for bravery in turning over an enemy ammunition truck. Her Army career ended in 1944, with an honorable discharge after she was hospitalized in Walter Reed Medical Center with a severe foot injury. After her discharge, she attempted an unsuccessful comeback in films.

Borden struggled with alcoholism and numerous health problems. She spent her final years in the skid row section of Los Angeles working and living at the Sunshine Mission, a home for women alongside her mother Sibbie, who got Borden the work.

Borden had several relationships with men, in and out of the motion picture industry. For the majority of her life, she lived with her mother, Sibbie, who was known as a "stage mother", helping Borden with most decisions and spending of money until Borden's death. From 1926 to 1930, Borden was romantically involved with actor George O'Brien and the press reported they were engaged. She also dated director Marshall Neilan, producer Paul Bern, and had a long affair with Arthur Benline, a Lieutenant Commander in the Navy Construction Battalion.

Borden was married twice. Her first marriage was to stockbroker Theodore Spector, whom she married on March 28, 1931, in Harrison, New York. The marriage was rocky from the start, and the couple separated in early 1932 after news of scandal broke that she was involved in a love triangle. Spector had not divorced his first wife, Pearl, whom he married in 1919, and he was arrested for bigamy after his first wife came forward and claimed they were still married. In November 1932, Borden petitioned the court for an annulment, which was granted on November 22. Spector was ultimately cleared of bigamy, but Borden with the marriage annulled, moved on from the entire incident. She married her second husband, 26-year-old railroad technician, John Moeller, in November 1934 under the pseudonym Mary Borden. That marriage ended in divorce seven years later.

Olive Borden died on October 1, 1947 from complications of pneumonia at the age of 41. The only possession she had when she died was a signed photo of herself. Borden's funeral was held on October 3 at the Sunshine Mission home for women where she had worked and lived since 1945. The mission's founder, Essie Binkley West, officiated at the service. Borden was buried at Forest Lawn Memorial Park in Glendale, California. Her mother was interred in the grave next to her when she died of a heart attack in 1959.

For her contributions to the film industry, Borden has a motion pictures star on the Hollywood Walk of Fame at 6801 Hollywood Boulevard. She was one of the first eight stars chosen to receive a star in 1958.

[lovelykhaleesiii]

I understand...(Part 14)

Pairing: Bucky Barnes x Stark!Reader

Words: 1934

Summary: You’re the daughter of Tony Stark, and after meeting the Avengers for the first time, you begin to fall for the one who your father despises most…Bucky Barnes.

Warning: pregnancy, angst, swearing, family conflict, change of perspectives

A/N - sorry if the series is becoming shit... tag list still open xox

Tags:

@fandom–0verdose , @m4shtyx , @impalatobakerstreet , @dreams-in-blxck , @irondadandspidersoncute , @basicmarvelbitch , @tonyystarkle , @woman-of-letters-legacy , @seabasstiantrash , @can-you-actuallynot , @conflictedintima , @wtfholland , @ivartheblessed , @iamaunicorn4704 , @bookgirlunicorn , @lost-in-the-stories , @chloe-skywalker , @a--1--1--3

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4 months had passed since Bucky and you had decided best to leave the Avengers Tower, your once childhood home to now accomodate for your growing family. The team had helped tremendously and assisted both Bucky and you in finding an affordable apartment in Brooklyn. You had to admit, it wasn’t as luxurious or as convenient as the Avengers Tower had been, though you were thankful. Your belly now protruding, living with the love of your life and father to be, you knew with great certainty that life could not get any better... Unfortunately though, Tony still daunted your conscious. You both hadn’t spoken since the feud, since you had revealed the wonderful news that he’d become a grandfather... Although, his reaction had distinctly indicated his decision of not wanting to take part of your journey into motherhood. He’d also taken all measures necessary, to the point of not wanting to talk to you no more. It was heartbreaking... As the first month passed, both Bucky and you had attempted many times to reconcile, although you were left with no response, no effort nor any sign of love from Tony. You tried to many times to communicate with him, having the decency and courage to repeatedly visit the tower, to ensure he still knew you cared. In reward...Nothing.

His excuse, “So long as you’re with him, raising his child... You don’t love me, and for that I can’t even look at you. Now, if you’ll excuse I have a business meeting to attend.”

Immediately you departed from the sight, not wanting to cause a scene. Your hormones still on rage, you’d also lately been quite emotional. Bucky, on the other, helping hand had been your greatest support: you had not once ever felt guilty or a sense of regret from the decision you made... It felt right, and Tony needed to understand.

“Baby” Bucky had gently whispered.

“Yes” you’d instantly retorted, unaware that your thoughts drifted your focus away from Bucky’s voice.

“You’re doing it again love” He sympathetically remarked, as his flesh hand smoothly caressed your belly, as you relaxed against his broad chest.

Sighing, you’d always felt guilty that your concerns had always overpowered you.

“Oh Bucky I’m sorry... It’s just I’d wish Tony wasn’t like this! Our baby’s arriving soon, and it just doesn’t feel right knowing he doesn’t want to be part of our family.Tony was always there for me, as early as I can remember he had been part of every moment of my life as much as possible and I just would have never thought he’d want to miss out on this!” You stressed as you gradually, with difficulty stood up from the comfort of your couch, removing the dishes on your coffee table to the kitchen sink. You could distantly hear Bucky’s sigh, knowing by now that once you’d become stressed, so did he. He had repeatedly informed you that this mental strain wasn’t healthy for you and especially the baby, as he attempted to calm you, although just like your father, you were naturally obstinate.

“Y/n we have tried everything we could possibly do to change his mind...You know that. But I say, it’s now entirely up to Tony to do his part, and make up his mind himself. If he’s chosen to avoid us and to not have a relationship with his grandchild then so be it… His loss I say.” Bucky had agitatedly insisted. By now, Bucky had hinted his frustration and impatience towards Tony’s cold treatment towards you two: insisting that your father was selfish enough to swallow his pride. It hurt you to see that both the men in your life weren’t cooperating, although you had to agree with Bucky on this… It seemed Tony’s resentment towards Bucky overpowered his love for you…

Nodding to Bucky’s words, gently placing your left hand onto your stomach, reassuring your unborn child that they would be loved regardless of this family feud, you had decided best to have an early night. This super-enhanced baby was definitely taking its toll in exhausting you on a daily basis.

“Babe I may just meet with Steve real quick...I’ll be sure to be back before 10.” Bucky had insisted, as he quickly grabbed his khaki jacket, heading towards you to plant a soft kiss against your forehead before heading out.

(Bucky’s Perspective)

It ached to know that he’d lied to Y/n, in that he wasn’t actually planning on meeting up with Steve at all...More so, he’d been planning on meeting with Tony instead, for at least one last chance.

With Tony being as famous as he was, keeping track of him and his whereabouts had proven to be easy. Tonight, Tony had been invited to a grand-opening Stark facility in the city, and Bucky since the start of the week upon hearing the unfamiliar televised news was set to reunite.

“Now Buck, promise yourself not to retaliate. Promise not to do anything you’ll regret. Promise on your love for Y/n and your unborn child that you won’t retaliate,” he silently uttered under his breath, as his legs instinctively led the route to the celebratory venue. And with that instance, the blinding flashlights of cameras and loud shouts of the media, pleading for names most unknown to Bucky, had startled him from his promising thoughts.

“Now where are you Tony?” He’d whispered, as his eyes thoroughly began to scan the vicinity of the world’s most affluent individuals and their counterparts.

With fortune again, Tony was most easy to find as the reporters were at this point begging for his attention. Arriving right on time, it seemed as though Tony was just about to leave the event, walking towards a large, sleek black limo. Activating the skills of the Winter Soldier, Bucky immediately yet discretely managed to enter the car. Without even having a minute to spare, Tony had graciously entered the vehicle completely unaware that it had already been preoccupied, as his eyes remained smiling towards the photographers. As the valet assistant soon shut the door, Tony’s entire facial expression had become mortified as he’d finally realised that he hadn’t been alone.

“Get the fuck out of my car, Barnes” he’d shouted.

To Bucky’s surprise the opposite car door to their end had opened also to be entered in by Rhodey, who then was terrified by the sight before him.

“Barnes what the hell-”

“Look I’m only here for Y/n and quite frankly she doesn’t even know that I am…”

“And what is that you’re here for Manchurian Candidate, cause you’re the type of person I exactly don’t want to give up my time for” Tony had sternly remarked, his face growing ever so frustrated the more he stared at Bucky.

“Tony you need to make amends with Y/n. She’s distraught that you aren’t going to be with her on this whole parenthood thing. She wants you by her side more than anything, and seeing her like this it-it’s killing me… So as a father, I’m asking you to at least just meet with her. Just the two of you, and just try to at least let her know that you still care.” Bucky plead, attempting to suppress his anger towards Tony after all he had done, like he’d promised earlier for the sake of Y/n.

“That’s it? You risked showing up to me, just for that when you both already know the answer? Quit being in denial, soldier, it’s never going to happen. See that fantasy in my daughter’s head… You tell her as the ‘decent and honest partner’ that you are, that it’s never going to happen. Just thinking about it sickens me…” Tony had firmly argued, mocking Bucky in the process.

“Now get the fuck out of the car, before I need to remove you myself” Tony had demanded.

But Bucky remained preoccupied by the stinging feeling of Tony’s brutal words.

“Don’t you ever fucking call my family sick again…” Bucky retorted, as his daring blue eyes burned against Tony’s stare.

“Excuse me?” Tony replied.

“Tony don’t- Excuse could we just park the car for a second?” Rhodey instantly instructed the driver, as he quickly withdrew Tony back into his seat, trying to avoid any possibility of a physical confrontation. Both the men arguing had completely forgotten about Rhodey’s silent presence, having been so distracted in their own raging thoughts.

“You’re a pathetic excuse as a father, putting your own selfish needs before your own daughter and grandchild… Fucking pathetic, Tony.” Bucky had remarked, before immediately making his way out of the car, venting his frustration into the void of the night, before things could get technical.

Walking ahead, in the distance behind he heard another car door open to close, only to turn back to see Tony rushing towards him. With Bucky’s last given thought on his promise made to Y/n and the baby, Tony’s longing punch had striked across Bucky’s face.

“You don’t get to decide what kind of a father I am. I gave her everything and she gives me what? A story of getting knocked up by a murdering bastard!” Tony had shouted, as he swang a couple more fists towards Bucky’s face, which now began to bleed. Bucky’s instinctive nature of fighting back suppressed by his will-power began to frighteningly fade. Although, before he could cause any harm to the grandfather of his child, he’d repeatedly, mentally reminded himself, Rhodey finally arrived to resist Tony’s urges against the possibility of Bucky getting involved any further.

“Should’ve killed you when I had the chance…” Tony had exaggerated before him and Rhodey had disappeared, driving away into the night.

Having a super enhanced body structure, Tony’s punches had not been agonising enough for Bucky, despite knowing that it would definitely leave a mark for Y/n to recognise as a fight. Spitting and wiping the blood residue off his face, Bucky resumed his walk back home…

(Y/n’s Perspective)

In the fading silence of the night, the sound of the front door opening and closing left a wave of relief through my body. Bucky was home…

“Bucky” you yearned, simply wanting his strong arms to be wrapped around your changing body, as you’d grown fond of him rubbing your belly smoothly.

“Yes my love?” Bucky hand entered, his voice muffled. Inviting him to bed, as your back remained turned to him, you’d questioned him on his meeting with Steve.

“About that…” Bucky had hesitated.

Instinctively you knew something was up, and hastily turned your attention towards him, snapping up from your drifting sleep.

“What the hell-” you anxiously retorted.

“I didn’t meet with Steve, Y/n. I met up with Tony instead...Look baby, seeing you all stressed over him, I tried to reconcile one last time, for your sake, but… He just won’t budge. I’m sorry Doll” Bucky had forgivingly revealed, as he bent down on his knees to the floor, his arms stretched over the ruffled bed to grasp your warm hands.

“Bucky… You shouldn’t have. Look at you, the mess he’s caused. Let’s just get you cleaned and we’ll talk about it tomorrow.”

Before you could get up off the bed, Bucky insisted you remain in your comfort, whilst he took care of himself. Laying in bed, you felt gratitude over Bucky’s courageous actions but also felt ripples of disappointment gushing over you. Time had passed and Tony still had the same heightened bitterness towards your newly found family.

“Oh Tony...If only you’d understand.” You deeply signed.

[blackboxoffice]

We’re in a golden age of black horror films

by Robin R. Means Coleman, Vice President and Associate Provost for Diversity; Professor, Department of Communication, Texas A&M University

In the horror genre, black is definitely back.

The movie “Ma,” which premieres on May 31, will star Academy Award winner Octavia Spencer as Sue Ann, a lonely middle-age woman who clings to a group of teens to the point of obsession.

“Ma” comes on the heels of Jordan Peele’s critically acclaimed “Us,” which is also led by an Academy Award winner, Lupita Nyong'o. And let’s not forget that Peele’s previous film, “Get Out,” won the Academy Award for best screenplay last year.

Black actors have always had a role in horror films. But something different is taking place today: the re-emergence of true black horror films.

Rather than simply including black characters, many of these films are created by blacks, star blacks or focus on black life and culture.

Objects of violence and ridicule

For most of film history, black actors have appeared in horror films in supporting roles. Many were deeply problematic.

In my 2011 book, “Horror Noire: Blacks in American Horror Films from the 1890s to Present,” I describe some of these tropes.

In the early 20th century, many films – horror or not – had white actors appearing in blackface. The characters could find themselves on the receiving end of especially horrific violence. For example, in 1904’s “A Nigger in the Woodpile,” a black couple’s home is firebombed and the pair staggers out, charred.

In the 1930s, there was a spate of horror films that took place in jungles, where blacks were depicted as primitive – sometimes indistinguishable from apes. A decade later, black characters started appearing in horror films as objects of ridicule. Actors like Willie Best and Mantan Moreland appeared as comic relief – characters for audiences to dismissively mock.

Above: Willie Best plays Clarence in the 1941 film ‘The Smiling Ghost.’ John D. Kisch/Separate Cinema Archive

To be sure, there were some instances in which black actors assumed leading roles. The 1934 film “Chloe, Love is Calling You” starred black actress Georgette Harvey as the vengeful Mandy. In 1957, Joel Fluellen portrayed the smart and reliable Arobi in “Monster from Green Hell.”

However, often these characters existed to support the survival of their white counterparts.

From placeholders to full participants

For a brief period, in the 1960s and 1970s, horror films began to treat blacks as whole and full subjects.

Many of these narratives centered on black culture and experiences. More often than not, blacks played the role of hero. For example, the 1972 film “Blacula” begins in 1780 and is an indictment of the slave trade and its lingering effects. In the 1974 film “Sugar Hill,” a black female protagonist named Sugar, with the help of her black zombie army, lays waste to a murderous white crime boss and his cronies.

Then there was Bill Gunn’s 1973 art-house horror film, “Ganja & Hess.” A gorgeous and deliberative treatise on race, class, mental illness and addiction, it won the Critics’ Choice prize at the Cannes Film Festival. However, no Hollywood studio was willing to distribute the film.

The classic of the era is George Romero’s 1968 “Night of the Living Dead,” which stars Duane Jones as Ben, a strong, complex black character who leads a group of whites during a zombie apocalypse. Confounding the clichéd trope of “the black guy dies first,” Ben is the lone survivor of the terrifying battle.

Above: Duane Jones as Ben in ‘Night of the Living Dead.’ Wikimedia Commons

In a turn of realism, he emerges triumphant – only to be summarily shot down by a militia of white police and civilians. Ben’s death, which comes at the movie’s conclusion, is as unexpected as it is powerful. The scene demands that audiences consider who among us is truly monstrous.

Sadly, these glimpses of blackness faded as many horror films in the 1980s, 1990s and 2000s reverted to well-worn tropes. In some, like “The Shining” and “Annabelle,” black characters operate as the “sacrificial Negro” who dies to save a white character’s life. Then there are the dozens of films, like 1987’s “Angel Heart” and 1988’s “The Serpent and the Rainbow,” in which black characters appear as wicked Voodoo practitioners.

Black is back

Jordan Peele’s films should be thought of as an homage to “Night of the Living Dead” and “Ganja & Hess” – films that have strong, complex black protagonists. In fact, Peele has noted that Ben’s fate in “Night of the Living Dead,” which was released as the U.S. mourned the assassination of Dr. Martin Luther King Jr., weighed heavily on him when he wrote the ending of “Get Out.”

Peele’s character – unlike Ben – survives.

While Peele has shown that the genre can be a daring, unflinching examination of politics, class and race, the black horror renaissance has been brewing for some years.

Over the past two decades, Ernest Dickerson – who directed “The Purge,” “Bones,” “Demon Knight” and episodes of “The Walking Dead” – and Rusty Cundieff, the director of “Tales from the Hood” and “Tales from the Hood 2,” have been stalwarts of the genre. They’ve paved the way for Peele, as well as newcomers such as Meosha Bean, Nikyatu Jusu and Deon Taylor.

The horror genre is maturing and becoming more imaginative and inclusive – in who can play hero and antihero, and who gets to be the monster and savior. The emergence of black horror films is just one chapter in a story that includes women taking on more prominent roles in horror films, too.

It’s about time. As Jordan Peele noted in an interview in the documentary film “Horror Noire,” the fact that there had been “such a small handful of films led by black people” was, to him, “the horror itself.”

[papermoonloveslucy]

PHIL OBER

March 23, 1902

Philip Nott Ober was raised in White Plains, New York. After attending a preparatory school and Princeton University, he worked in advertising before moving into acting. He made his debut on stage, playing Tom Faulkner in Technique in 1931. He appeared in Lawrence Riley's Broadway show Personal Appearance (1934) opposite Gladys George. 

Ober's film debut came in Chloe, Love Is Calling You (1934), a B-movie about voodoo. His first studio feature was 1950′s The Secret Fury, also starring Vivian Vance, one of only two films she did before “I Love Lucy.” Vance and Ober had married in 1941. 

Not coincidentally, his first television show was the fifth episode of his wife’s new show, “I Love Lucy”. 

“The Quiz Show��� (ILL S1;E5) was filmed on October 5, 1951, and first aired on November 12, 1951. Ober played a man posing as a long-lost husband of Lucy’s, but he was really an actor sent by Freddy Fillmore’s radio show. Ironically, although Vivian’s real-life husband, Phil Ober, appears in this episode, her on-screen husband, Fred Mertz, does not!

He later played the role of Dore Schary in “Don Juan is Shelved” (ILL S4;E22) filmed on February 10, 1955, and first aired on March 21, 1955. This time he was a last-minute replacement when the real Dore Schary backed out just before filming. Some sources say Schary (inset photo) did not want to make enemies in Hollywood, as many feared television was taking away audiences in large numbers. Schary said that Ober would do a better job playing him than he could himself. 

Although Schary playing himself would have added an interesting dimension to the episode, the switch works because few people actually knew what Schary really looked like. This is reinforced when Bobby the Bellboy says he’s never even seen Dore Schary!

In 1959, Ober appeared on an episode of “The Westinghouse Desilu Playhouse” titled “Martin’s Folly” starring Tony Randall and Carl Reiner.  The show was introduced by Desi Arnaz. 

In 1959, Vivian Vance divorced Phil Ober. Reportedly, Ober physically abused Vance. When she came to the set with a black eye one day, Lucy told Vivian that if she wouldn’t divorce Ober, she would! 

Shortly afterwards, Ober turned up in a small role in The Facts of Life, playing Doc Mason. 

In December 1961, he did an episode of Desilu’s “The Real McCoys” titled “The Rich Boy.” 

He also did characters on “The Danny Thomas Show” (1956 & 1963) and “The Dick Van Dyke Show” (1966), shows filmed at Desilu Studios, but not produced by Desilu. 

His final screen appearances was the 1968 feature film Assignment To Kill. After that, Ober left show business to become a diplomat. In 1982, while working at the US consulate in Mexico City, he died of a heart attack after complications from lung cancer, at age 80. 

[agoldenplum]

Georgette Harvey as Old Mandy in Chloe, Love Is Calling You (1934)

Evelyn Ellis as Bess in Porgy (1927)

Nina Mae McKinney as Isabelle Walton in The Devil's Daughter (1939)

Etta McDaniel as Sarah in Son Of Dracula (1943)

Theresa Harris as Alma in I Walked With A Zombie (1943)

[travsd]

Georgette Harvey: Porgy's First Maria

Georgette Harvey: Porgy’s First Maria

A fascinating figure was born on this day. Georgette Harvey (1882-1952) was principally a stage performer, although I first became aware of her from the 1934 voodoo movie Chloe, Love is Calling You. She was a striking figure, tall, broad-shouldered, stout-limbed. While she was often cast in “Mammy” characters, as was the custom of the day, she made Hattie McDaniellook like a pipsqueak. She also…

[demdread]

Georgette Harvey was born to sing. As a little girl, she found singing in the church choir and continued to do it to please the elders and sisters of the church. However, there was a desire burning deeper within Harvey. She wanted to explore the world and find out just how far her singing could take her. Therefore, Harvey turned to theatrical performing. However, during the early 20th century it was unheard of for any respectable woman to be associated with a woman of the world, especially show folks. These people were considered to have loose morals and exhibited themselves for money. Harvey moved to New York and began making a name for herself. She organized a group of six girls, and they would sing and perform. She appeared as Snow White in a dramatic production, but soon her voice was recognized and she began to travel abroad with her five singers. Vaudeville had become an accepted form of entertainment here by then; she and her troupe soon became known and high in demand. By 1911, Harvey was the leader of one of the greatest group of singers. During this time, she returned to Europe and her troupe quickly rose to stardom. Not only was Harvey an exceptional singer, she was noted as being a great businesswoman. She had her American solo debut on stage on October, 10, 1927. In American cinema, she played Old Mandy in the 1934 movie Chloe, Love Is Calling You, and as LuLu in Social Register. She is perhaps most famous for creating the role of Maria in the original 1935 Broadway production of George Gershwin`s opera, Porgy and Bess. Her last performance was in Lost in the Stars , which ran from October 20, 1949, to July 1, 1950. Harvey died in 1952.   sources: http://aaregistry.org/historic_events/view/georgette-harvey-stage-screen-legend https://en.wikipedia.org/wiki/Georgette_Harvey https://www.instagram.com/p/B9H3ALZJjUq/?igshid=gmzizwj2o3q5

[thewarmestplacetohide]

Dread by the Decade: 1930s Horror (Pt. III)

👻 You can support me on Ko-fi ❤️

Mystery of the Wax Museum (1933 | USA): corpses go missing as a wax museum prepares to open. ★★

Supernatural (1933 | USA): an heiress is possessed. ★½

The Vampire Bat (1933 | USA): people fear a vampire is preying on their town. ★★

The Black Cat (1934 | USA): a WWI POW seeks the man who betrayed him. ★★★½

El fantasma del convento (1934 | Mexico): three people shelter in a strange monastery. ★★★½

Black Moon (1934 | USA): a woman returns to the island of her youth. 0 stars

Chloe, Love is Calling You (1934 | USA): a biracial woman returns home with a voodoo priestess. 0 stars.

Mystery House (1934 | USA): a gorilla hunts a cursed man. ½

Maniac (1934 | USA): an actor kills and impersonates a mad scientist. ½

The Tell-Tale Heart (1934 | UK): a man is driven mad by his housemate's eye. ★★

[weekendwarriorblog]

2017: My Year at @Metrograph

I’ve been doing this since the Metrograph, my local theater, opened in March 2016 and now we can see what a full-year of “Ed Going to the Metrograph” looks like. Saw a few movies for the first time (noted with the *), saw a few for the first time in a theater and others are long-time favorites that I haven’t seen in a long time.

Metrograph had a lot of great series including the Stephen King one and the more recent Goth/ik, which had a lot of favorites. I think seeing After Hours with Griffin Dunne talking about making one of my favorite films.

So let’s get to it...

20,000 Leagues Under the Sea (1954) 48 Hours  (1982) 78/52 (2017)* Adaptation (2002) After Hours (1985) Along for the Ride (2017)* American Graffiti (1973) Angel (1937)* Animal House (1978) The Apartment (1960)* Black Coal, Thin Ice (2016) Blonde Venus (1932)* Bram Stoker’s Dracula (1992) The Bride of Frankenstein (1935) Bugsy Malone (1975) Bunny Lake is Missing (1965)* Carrie (1976) The Cat from Outer Space (1978)* Chinatown (1974)* Chloe in the Afternoon (1972)* Christine  (1983) City Lights (1931) Close Encounters of the Third Kind (1977) Come Drink With Me (1966) The Crazies (1973)* Creepshow (1982) Crooked House (2017)* The Crow (1994) The Cure: Show (1993)* The Cure in Orange (1987) The Dead Zone (1983) The Departure (2017)* The Devil Is a Woman Dishonored (1931) Don’t Look Now (1973) Dracula Easy Rider (1969) Eraserhead (1977) Firestarter (1984) A Foreign Affair (1948)* Frankenstein (1931) Ghost World (2001) Good Morning (1959)* Gosford Park (2001) Hapkido (1972)* Happiness is the Matadors Hermia and Helena (2016)* High Plains Drifter Hold That Ghost (1941) Hong Kong Trilogy (2017) inc. The Hunger (1983) I Call Him Morgan (2016) Ichi the Killer (2001) In Transit (2015)* It Happened One Night (1934)* Judgment at Nuremberg (1961)* The King of Comedy (1982) L'Avventura (1960) La Strada (1954) Lethal Hostage (2012)* Little Odessa (1994)* The Long, Long Trailer  (1953) Lost Highway (1997) Maigret Sets a Trap* Marlene (1984)* Mary Poppins  (1964) Maximum OVerdrive MIami Blues (1990) Misery (1990) The Misfits (1961)* Mon Oncle (1958)* My Young Auntie (1981)* Near Dark (1987) Nosferatu (1922)* Nosferatu the Vampyre (1979)* Our Time Will Come (2017)* Outside the Law (1930) Pauline at the Beach (1983)* Perfect (1985)* Phantom Thread (2017)* Phase IV (1974)* Prick Up Your Ears (1987)* Radio Days (1987) The Rehearsal (2016)* Resident Evil: Retribution 3D* Rock ’n’ Roll High School (1979) Scum (1979)* Slap Shot (1977) The Song Remains the Same (1976) Sons of the Desert (1932)* with Berth ??? Sorcerer (1977)* Stage Fright (1950)* Steamboat Bill, Jr. (1928)* Stripes (1981) Suture (1993)* Suspiria (1977) Sweet Smell of Success (1957)* That Darn Cat! (1965) The TAMI Show (1964)* They MIght Be Giants (1971)* THX1137 (1971) Three Kings (1999) Time Bandits (1981) Trafic (1971)* Trouble in Paradise (1932)* Twin Peaks: Fire Walk With Me (1993) Ulzana’s Raid (1972)* The Unbelievable Truth (1989)* URGH! A Music War (1982) Vanishing Point (1971)* The Vertical Ray of Sun (2000)* Videodrome (1983) We Own the Night (2007) Wet Woman in the Wind (2017)* What Have You Done to Solange? (1972)* Women in Love (1969)* Yes, Madam (1985)* Zabriskie Point  (1970)*

[elcinelateleymickyandonie]

PHILIP OBER.

Filmography

1934: Chloe, Love Is Calling You

1938: Little Me

1950: The Magnificent Yankee

1950: The Secret Fury

1950: Never a Dull Moment

1951: The Unknown Man

1952: Washington Story

1952: Come Back, Little Sheba

1953: The Clown

1953: The Girls of Pleasure Island

1953: Scandal at Scourie

1953: From here to eternity

1954: About Mrs. Leslie

1954: Broken Lance

1956: Calling Terry Conway (TV)

1957: Tammy and the Bachelor

1957: Escapade in Japan

1958: The High Cost of Loving

1958 - Ten North Frederick

1958: Torpedo Run

1959: The Mating Game

1959: North by Northwest (With death on the heels)

1959: Beloved Infidel

1960: Elmer Gantry

1960: Let No Man Write My Epitaph

1960: The Facts of Life

1961: The Crimebusters

1961: Go Naked in the World

1963: The Ugly American

1964: The Brass Bottle

1966: The Ghost and Mr. Chicken

1968: Assignment to Kill.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Philip_Ober

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[justlikemardigra]

Gorgette Harvey was the leader of one of the greatest group of singers. During this time, she returned to Europe and her troupe quickly rose to stardom. Not only was Harvey an exceptional singer, she was noted as being a great businesswoman. She had her American solo debut on stage on October, 10, 1927. In American cinema, she played Old Mandy in the 1934 movie Chloe, Love Is Calling You, and as LuLu in Social Register. She is perhaps most famous for creating the role of Maria in the original 1935 Broadway production of George Gershwin`s opera, Porgy and Bess. Her last performance was in Lost in the Stars , which ran from October 20, 1949, to July 1, 1950. Georgette Harvey died in 1952. http://ift.tt/2qpJ4oD

[bigphantomlight-blog]

Ellen DeGeneres: Here and Now (2004)

Ellen DeGeneres: Here and Now (2004)

Ellen DeGeneres has done everything, from starring in hit sitcoms and movies, to writing best-selling books, to having her own new talk show, but she's never forgotten her roots as a stand-up comedian. Taped at New York City's Beacon Theatre before a live audience, Ellen DeGeneres: Here and Now features the kind of humor that first made her a star, offering her offbeat insights into everyday life. Her feel-good humor touches on something that anyone can identify with, be it the obligatory gay joke, procrastination, fashion, public cell phone use, airline etiquette, or self-esteem.

Try seven more:

Soft Crash (2016)

Looney Tunes - Spotlight Collection 4 (2006)

The Trap (2012)

One in a Million (1936)

The Forbidden Legend Sex And Chopsticks 2 (2009)

Romance Freestyle (1958)

Chloe, Love Is Calling You (1934)