#Claude Jarman

[hollywoodcomet]

Clarence Brown Film Festival in Knoxville, Tenn.: Aug. 16-20

A film festival celebrating the career of director Clarence Brown begins this evening, Wednesday, Aug. 16, and runs through Sunday, Aug. 20, in Knoxville, Tenn. Director Clarence Brown Hosted by the Knox County Public Library, the Clarence Brown Film Festival will feature film screenings and presentations from speakers including Brown’s biographer Gwenda Young, film critic and historian Farran…

[oldshowbiz]

Lee Marvin: Still Jacking Off.

[cowboysource]

Rio Grande (1950)

dir. John Ford

[gatutor]

Claude Jarman Jr.-Gloria Grahame "Sin contemplaciones" (Roughshod) 1949, de Mark Robson.

[brawley1492]

What were you thinking?

During the making of the movie?

THE YEARLING! ... 10 year old Claude Jarman junior

[erstwhile-punk-guerito]

[mygrowingcollection]

Claude Jarman Jr

[radio-therookie-blog]

Just the start of his movies ❤️

[thevisualvamp]

The history of artists-gardeners is lengthy

[citizenscreen]

Juano Hernandez with Claude Jarman, Jr. in Clarence Brown’s INTRUDER IN THE DUST (1949)

[tcm]

Child’s Play: The Juvenile Academy Award By Jessica Pickens

It can feel a little awkward when a child is told they did a better job at work than an adult. That was the case with the Academy Awards at least. At 9 years old, Jackie Cooper was the first child nominated for a Best Actor at the 4th Annual Academy Awards. Nominated for SKIPPY (’31), Cooper was competing against Richard Dix, Fredric March, Adolphe Menjou and Lionel Barrymore. It was Barrymore who took home the award that night for his performance in A FREE SOUL (‘31).

Three years later, 6-year-old Shirley Temple looked like a serious contender for a Best Actress nomination at the 7th Academy Awards. This same year, there was heartburn that Bette Davis hadn’t received an official nomination for OF HUMAN BONDAGE (’34). As a compromise, Temple’s autobiography notes that a special Juvenile Academy Award was created, “In grateful recognition of her outstanding contribution to screen entertainment during the year 1934.” Claudette Colbert took home the Best Actress award that year for IT HAPPENED ONE NIGHT.

The juvenile statue awarded to the young actors was half the size of the regular Academy Award; standing about seven inches tall. Temple was the first to receive an award that was presented 10 times to 12 honorees over the next 26 years. The juveniles ranged in ages 6 to 18.

Shirley Temple, 1934 at the 7th Annual Academy Awards

As Temple sat bored at the Academy Awards, she was surprised to hear her name announced during the ceremony. Host and humorist Irvin S. Cobb called her “one giant among the troupers.” As she grabbed her miniature-sized award, she asked, “Mommy may we go home now?” according to her autobiography. “You all aren’t old enough to know what all this is about,” Cobb told Temple. Shirley’s mother told her that she received the award for “quantity, not quality,” because Temple starred in seven films in 1934.

In 1985, Temple received a full-sized award, as she felt the juvenile actors deserved a regulation-sized award like everyone else, according to Claude Jarman, Jr.’s autobiography.

Mickey Rooney and Deanna Durbin, 1938 at the 11th Annual Academy Awards:

The second time the special award was presented was to two juvenile actors: Mickey Rooney, 18, and Deanna Durbin, 17. They received the award for “their significant contribution in bringing to the screen the spirit and personification of youth and as juvenile players setting a high standard of ability and achievement.”

“Whatever that meant,” Rooney commented in his autobiography on the award.

This was Durbin’s only recognition from the Academy. The following year, Rooney received his first adult nomination for BABES IN ARMS (’39). In total, he received four other competitive awards as an adult, and received one Honorary Award in 1983 in recognition of “50 years of versatility in a variety of memorable film performances.”

Judy Garland, 1939 at the 12th Annual Academy Awards:

Judy Garland, 17, was presented her Juvenile Academy Award by her frequent co-star Mickey Rooney. Garland received her award for “her outstanding performance as a screen juvenile during the past year” for her performances in BABES IN ARMS (’39) and THE WIZARD OF OZ (’39). Garland wouldn’t be recognized with a nomination by the Academy again until her 1954 performance in A STAR IS BORN. Garland reported losing the Juvenile Award in 1958, and it was replaced by the Academy at her own expense.

Margaret O’Brien, 1944 at the 17th Annual Academy Awards

Margaret O’Brien, 7, received the Juvenile Academy Award “for outstanding child actress of 1944” for the film MEET ME IN ST. LOUIS (’44). When Margaret O’Brien received her Oscar, she said she wasn’t really that interested in it at the time. “I was more excited about seeing Bob Hope. I was more interested in meeting him than the Oscar that night,” she said, quoted by her biographer.

In 1958, O’Brien’s award was lost. Her housekeeper, Gladys, took the Juvenile Academy Award home to polish and didn’t return. A short time after, Gladys was put in the hospital for a heart condition and the award was forgotten. When Margaret reached out later about the award, the maid had moved, according to her biographer.

Nearly 40 years later, two baseball memorabilia collectors — Steve Meimand and Mark Nash— returned the award to O’Brien in 1995. The men had bought it at a swap meet in Pasadena, according to a Feb. 9, 1995, news brief in the Lodi New-Sentinel. “I never thought it would be returned,” she said in 1995. “I had looked for it for so many years in the same type of places where it was found.” In 2001, O’Brien donated her Oscar to the Sacramento AIDS Foundation.

Peggy Ann Garner, 1945 at the 18th Annual Academy Awards

After appearing in films since 1938, Peggy Ann Garner’s breakout role was in the film adaptation of A TREE GROWS IN BROOKLYN (’45). That year at the Academy Awards, 14-year-old Garner was recognized with the Juvenile Award “for the outstanding child actress of 1945.” It was an unexpected honor for Garner, who was confused why she was asked to sit in an aisle seat. She thought it was a mistake when her name was announced, according to Dickie Moore’s book on child actors.

Claude Jarman Jr., 1946 at the 19th Annual Academy Awards

Claude Jarman Jr. was plucked from his home in Knoxville, Tenn. and thrust into stardom when director Clarence Brown selected him for the lead role in THE YEARLING (’46). Jarman wrote in his autobiography that he gave a brief speech saying it was a thrilling moment and “This is about the most exciting thing that can happen to anybody.” However, later admitted that at age 12 the significance of the award escaped him. Following Shirley Temple’s example, Jarman also later received a full-sized Academy Award.

Ivan Jandl, 1948 at the 21st Annual Academy Awards

Ivan Jandl received the Juvenile Academy Award in his only American film, making him the first Czech actor to receive an Academy Award. At age 12, Jandl was recognized for his “outstanding juvenile performance of 1948 in THE SEARCH (’48).” The film was one of only five films Jandl starred in. Jandl was not permitted by the Czechoslovakia government to travel to the United States to accept his award, which was accepted on his behalf by Fred Zinnemann, who directed THE SEARCH.

Bobby Driscoll, 1949 at the 22nd Annual Academy Awards

Bobby Driscoll received the award for “the outstanding juvenile actor of 1949” after appearing in the film-noir THE WINDOW (’49), as well as his performance in the Disney film SO DEAR TO MY HEART (’48). “I’ve never been so thrilled in my life,” 13-year-old Driscoll said when he accepted the award.

Jon Whiteley and Vincent Winter, 1954 at the 27th Annual Academy Awards

Scottish actors Jon Whiteley, 10, and Vincent Winter, 7, co-starred as brothers in THE LITTLE KIDNAPPERS (’53). The co-stars were awarded for their “outstanding juvenile performances in The Little Kidnappers.” Whiteley’s parents wouldn’t let him attend the award’s ceremony, so it was mailed to him. "I remember when it arrived, hearing it was supposed to be something special, I opened the box and I was very disappointed. I thought it was an ugly statue," Whiteley said in a 2014 interview.

Vincent Winter was also not present for the award, so Tommy Rettig accepted the award on behalf of both actors.

Hayley Mills, 1960 at the 33rd Annual Academy Awards

The last Juvenile Academy Award was award to Hayley Mills, 14, in 1960 for her role in POLLYANNA (’60). The award was presented by the first winner of the Juvenile Award, Shirley Temple. Mills was unable to attend, and it was accepted on her behalf by fellow Disney star Annette Funicello.

In a 2018 interview, Mills said she didn’t know she had received it until it arrived at her home. Mills was in boarding school in England at the time of the ceremony. “I didn’t know anything about it until it turned up. Like, ‘Oh, that’s sweet. What’s that?’ I was told, ‘Well, this is a very special award,’ but it was quite a few years before I began to appreciate what I had,” she said in a 2018 interview.

The Aftermath

Throughout the tenure of the honorary Juvenile Academy Award, other children were still occasionally nominated, including Bonita Granville, 14, for THESE THREE (’36); Brandon de Wilde, 11, for SHANE (’53); Sal Mineo, 17, for REBEL WITHOUT A CAUSE (’55) and Patty McCormack, 11, for THE BAD SEED (’56).

Once Patty Duke, 16, won the Academy Award for Best Actress in a Supporting Role in 1963 for THE MIRACLE WORKER (’62), the honor was discontinued. Following Duke, Tatum O’Neal, 11, received the award for Best Supporting Actress for PAPER MOON (’73).

In recent years, there has been discussion about bringing the award back. In a 2017 Hollywood Reporter article, the argument was made that after the discontinuation of the award, fewer children have been recognized by the Academy. The performance of Sunny Pawar in LION (2016) wasn’t nominated, which was viewed as a snub, according to a 2017 Hollywood Reporter article. Other children haven been nominated in major categories, like Quvenzhane Wallis for BEASTS OF THE SOUTHERN WILD (2012), which to date makes her the youngest nominee for Best Actress in a Leading Role, and Jacob Tremblay in ROOM (2015). But the last time a child has won a competitive award was Anna Paquin for THE PIANO (1993).

[howardhawkshollywoodannex]

This is Clarence's third honorable mention, after Wife vs Secretary and Intruder in the Dust.

This is Greg's fourth honorable mention, after Spellbound, Mirage, and Arabesque.

This is Jane's fourth honorable mention, after Johnny Belinda, The Glass Menagerie, and Miracle in the Rain.

This is Claude's fourth honorable mention, after Intruder in the Dust, Rio Grande, and The Outriders.

Gregory Peck, Jane Wyman and Claude Jarman Jr are The Baxters in The Yearling (1946) with pleasing cinematography by Arthur Arling, Charles Rosher and Leonard Smith, three names of which I am unfamiliar.  The film was directed by Clarence Brown.  His other entries on the New York Times list of the 1,000 Best Films are Anna Christie with Greta Garbo, and another technicolor family film with an animal, National Velvet.

[artofcinema]

underseen masterpiece list

a real young girl (1976, catherine breillat) france

alucarda (1977, juan lópez moctezuma) mexico

anatomy of hell (2004, catherine breillat) france

apocalypse after (2018, bertrand mandico) france

baxter, vera baxter (1977, marguerite duras) france

blanche (1971, walerian borowczyk) france

blood tea and red string (2006, christiane cegavske) usa

blue spring (2001, toshiaki toyoda) japan

céline (1992, jean-claude brisseau) france

demonlover (2002, olivier assayas) france/japan

dumplings (2004, fruit chan) hong kong

himiko (1974, masahiro shinoda) japan

i am keiko (1997, sion sono) japan

india song (1975, marguerite duras) france

innocence (2004, lucile hadžihalilović) belgium/france

ludwig (1973, luchino visconti) italy

marianne and juliane (1981, margarethe von trotta) germany

martha (1974, rainer werner fassbinder) germany

mr. klein (1976, joseph losey) france

poison (1991, todd haynes) usa

puzzle of a downfall child (1970, jerry schatzberg) usa

scarlet diva (2000, asia argento) italy

sex & fury (1973, norifumi suzuki) japan

successive slidings of pleasure (1974, alain robbe-grillet) france

taboo (1999, nagisa ōshima) japan

the night of the hunted (1980, jean rollin) france

the nun (1966, jacques rivette) france

the pillow book (1996, peter greenaway) uk

the river (1997, tsai ming-liang) taiwan

the sleeping beauty (2010, catherine breillat) france

the story of sin (1975, walerian borowczyk) poland

the tempest (1979, derek jarman) uk

the valley of the bees (1968, františek vláčil) czechoslovakia

toby dammit (1968, federico fellini) france/italy

venus in furs (1969, jesús franco) uk/italy

[gatutor]

John Wayne-Maureen O´Hara-Claude Jarman Jr. "Rio Grande" 1950, de John Ford.

[ljones41]

"CENTENNIAL" (1978-79) - Episode Eleven "The Winds of Death" Commentary

"CENTENNIAL" (1978-79) - Episode Eleven "The Winds of Death" Commentary A recent critic of "CENTENNIAL" once complained that the miniseries had failed to breach the topic of land environmental issues in an effective manner. Author James Michener allowed this subject to dominate his 1973 novel. But this critic seemed to hint that producer John Wilder had more or less dropped the ball on this topic in the television adaptation. 

Looking back at the previous ten episodes, I do not know if I agree with that critic. I did notice that the subject of who was qualified to be the true inheritors of the land - at least in regard to Northern Colorado - appeared throughout the miniseries."CENTENNIAL" also focused on how the story's many characters used the land. One could argue that the subplot regarding the Wendells' origins as stage performers and scam artists had nothing to do with land environmental issues. And I would disagree. The Wendells' murder of the businessman Mr. Sorenson in "The Crime" and Sheriff Axel Dumire's death in "The Winds of Change"allowed the family to become the biggest landowners in Centennial. They used their ill-gotten money - acquired from Mr. Sorenson's satchel - to not only acquire land, but also become successful owners of a real estate company. The Wendells' new profession allowed them to play a major role in the major subplot featured in "The Winds of Death". This eleventh episode began in 1914, with the arrival of Iowa farmers who had recently purchased land from Mervin Wendell. Among the new arrivals is a young couple named Alice and Earl Grebe. These new farmers are warned by Hans Brumbaugh and Jim Lloyd that they would be wise not to farm the land sold to them by the Wendells - namely the neighborhood's drylands near Rattlesnake Buttes. That particular location had already witnessed previous tragedies such as Elly Zendt's death, the Skimmerhorn Massacre and the range war that led to sheep herders Nate Pearson and Bufe Coker's deaths. Alice and Earl Grebe attempted to create a farm there and were successful for several years. But obstacles such as the land's dry state, the deadly winds that plagued the Great Plains during the 1920s and 1930s finally took their toll, and a free fall in wheat prices after World War I. Earl and his fellow Iowans received good advice from an agricultural consultant hired by the Wendells named Walter Bellamy on how to till their land during potentially bad times. But they ignore Bellamy's advice and pay the price by the end of the episode. Especially the Grebes. "The Winds of Death" focused upon other subplots. It marked the deaths of three major characters - Hans Brumbaugh, Mervin Wendell and Jim Lloyd. Wendell died as a happy real estate tycoon, oblivious of the damage he has caused. His only disappointments seemed to be his continuing lack of knowledge of Mr. Sorenson's final resting place and the contempt his son Philip still harbors. Brumbaugh's labor problems were finally resolved in the last episode with the arrival of Tranquilino Marquez and other Mexican immigrants. In "The Winds of Death", he spent most of his time helping Tranquilino's family settle in Centennial, while the latter endure six years in a Colorado prison on trumped up charges and years of fighting a revolution in Mexico. Unfortunately for the beet farmer, he died minutes before a possible reunion with Tranquilino. Jim Lloyd faced a few crisis during this episode before his untimely death. The cattleman insured that his son-in-law, Beeley Garrett (son of sheep rancher, Messamore Garrett) would continue to manage Venneford Ranch. Jim and his wife, Charlotte, also helped Truinfador Marquez maintain his cantina for Centennial's Latino population in the face of bigotry from the local sheriff and the courts. But Jim's biggest conflict turned out to be his resistance to Charlotte's plans to breed the ranch's cattle to an unnaturally small size for stock shows and fairs. This last conflict led to his fatal heart attack. For me, "The Winds of Death" proved to be the last well-made episode from "CENTENNIAL". Mind you, it did not strike me as perfect. I feel that the episode's running time could have stretched to at least two hours and fifteen minutes, instead of the usual 90 minutes or so. "The Winds of Death" was set during a twenty-year period from 1914 to 1934 or 1935. And there seemed to be a great deal going on in the episode's narrative for a mere 90 to 97 minutes. I also have issue with the story's suggestion that Hans Brumbaugh's labor problems ended with the influx of Latino immigrants. What exactly was Michener trying to say? That Latinos was the only group that lacked the ambition to be something other than agricultural field workers? I also had a problem with the Lloyds' efforts to help Truinfador keep his cantina. The subplot struck me as a bit contrive, politically correct and somewhat reeking of the "white savior" trope. Perhaps Jim seemed capable of understanding Truinfador's problems, considering his past relationships with the likes of "Nacho" Gomez, Nate Pearson and especially Clemma Zendt. However, neither the miniseries or Michner's novel had ever hinted any signs of such ethnic tolerance from Charlotte before this story arc. My last problem with the episode proved to be a minor quibble. I noticed that the generation that featured Philip Wendell and Beeley Garrett seemed to conceive their offspring, while in their late 30s to 40s. Why? I can understand one of them having children so late in life, but all of the characters from this particular generation? Philip Wendell's son (Morgan) will not be introduced until the next episode. But he will prove to be around the same age as Beeley's son, Paul Garrett. Despite my problems with "The Winds of Death", I cannot deny that screenwriter Jerry Ziegman wrote a first-rate script. The episode did an excellent job in re-creating the West of the early 20th century. Not only did it explored the problems that Western farmers faced during that period, it also provided viewers with a more in-depth look into the travails of Latino farm laborers - a subject barely touched upon in American cinema or television. One of the episodes highlights proved to be the two major dust storms that plagued Centennial during the 1930s. Duke Callaghan's photography, along with Ralph Schoenfeld's editing and the Sound Department's effects did an excellent job in creating the nightmarish effects that left parts of the Great Plains covering in dust. The storms sequences left me feeling a bit spooked and sympathetic toward Alice Grebe's reaction. I suspect that many viewers were disappointed to learn that the Wendells failed to suffer the consequences of their crimes. Honestly, I was not that surprised. One cannot deny that they were the kind who usually flourished in the end. After all, "Centennial" was not the first or last work of fiction that mingled reality with drama. However, the episode's pièce de résistancecentered on the experiences of the Grebe family's twenty years in Centennial. It was fascinating, yet heartbreaking to watch Alice and Earl Grebe enjoy their brief success during the 1910s, before the post-World War I years slowly reduced them to a near-poverty state. And considering the tragic event that marked the end of Alice and Earl's stay in Centennial, viewing their experiences seemed like watching a train wreck in slow motion . . . or the unfolding of a Greek tragedy. "The Winds of Death" featured some superb performances by the cast. Truinfador Marquez's efforts to save his cantina led to a conflict between him and his more conservative father, Tranquilino; which also resulted in a superbly acted scene between A Martinez and Byron Gilbert. William Atherton was brilliantly convincing as the aging Jim Lloyd. I found it difficult to remember that he was barely out of his 30s when he shot this episode. Lynn Redgrave was equally superb as the caustic Charlotte Lloyd, who seemed ruthlessly determined to get her own way, whether it meant creating a new breed of cattle for Venneford or helping Truinfador. Anthony Zerbe continued his excellent performance as the charming, yet venal Mervin Wendell. Although Lois Nettleton did not get much of a chance to shine as in this episode as the scheming Maud Wendell, the actress still managed to give a first-rate performance in her brief scenes. Morgan Paul did an excellent job in conveying the many facets of the adult Philip Wendell, who not only remained haunted by Axel Dumire's death, but also proved to be just as ruthless in business as his parents. Claude Jarman was excellent as farmer Earl Grebe, who struggled to keep his farm and family together. The episode also featured solid work from Alex Karras, Silvana Gallardo, William Bogert, Geoffrey Lewis and Alan Vint. But for me, the stand out performance came from actress Julie Sommars. She gave a superb performance as the fragile Alice Grebe, whose doubts about farming in the drylands of Colorado would come to fruition some twenty years later. She never seemed more sympathetic, yet frightening in those last scenes in which the high winds and dust proved to be the last straw for the fractured Alice. I almost regret finishing "The Winds of Death". Not only did it convey an excellent portrait of the West during the early 20th century, the episode featured some excellent performances from the cast. More importantly, it proved to be the last one I would find engrossing. The next and last episode is "The Scream of Eagles" and I have to be brutally honest . . . I am not looking forward to it.

[classichollywd]

'The Yearling' (1946)

‘The Yearling’ (1946)

is set in1878 Lake George, Florida and based on the Pulitzer Prize winning novel written by Marjorie Kinnan Rawlings. MGM owned the rights to the novel and Clarence Brown director of National Velvet (1944) was chosen as Director of the film. Clarence Brown discovered Claude Jarman Jr lead child actor in the movie after visiting several schools in the south searching for the perfect Jody. The…