#edward nugent

[citizenscreen]

John Wayne, Virginia Cherrill, and Edward J. Nugent in Seymour Felix’s GIRLS DEMAND EXCITEMENT (1931)

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Our Dancing Daughters (1928) Harry Beaumont

December 5th 2022

[screenshotingmonstercinema]

[stairnaheireann]

#OTD in Irish History | 4 May:

1699 – According to Jonathan Swift’s book, Gulliver’s Travels, it was on this day that Lemuel Gulliver sets sail on board the Antelope from Bristol. 1715 – Joseph Deane, Justice of Assize for Munster and MP for Co Dublin, dies of a fever resulting from a cold he caught (allegedly caused by a total eclipse of the sun) while returning from circuit on horseback. 1773 – Art Ó Laoghaire, the subject…

[thebarroomortheboy]

DICK POWELL, RUBY KEELER and EDWARD J. NUGENT in 42nd STREET | dir. LLOYD BACON (1933)

[gatutor]

Edward J. Nugent-Bing Crosby-Miriam Hopkins "Fuga apasionada" (She loves me not) 1934, de Elliot Nugent.

[vintagedreamsofsennett]

Eddie J. Nugent and Dorothy Granger in Easy on the Eyes (1933)

Nugent was a brash "juvenile" who starred in several 1933 Sennett talkie shorts including Easy on the Eyes. Born in New York City the son of a stage manager, Nugent played in Sid Grauman's prologues, entering Hollywood as a laborer and stuntman at M-G-M. He became a gagman there before being picked to play the comic relief role in Our Dancing Daughters (1928) with Joan Crawford. Nugent again supported Crawford in The Duke Steps Out (1929) and Dorothy Mackaill in Bright Lights (1930), and appeared in a couple of shorts in the "Hollywood Girls" series for Ideal Comedies Educational under Roscoe "William Goodrich" Arbuckle's direction in 1931. Sound features included a supporting part in 42nd Street (1933), as well as College Humor (1933) with Burns and Allen, Ah Wilderness! (1935) and Meet the Mayor (1938). Nugent then left Hollywood for Broadway. He produced the play "On Our Way" (1946), starred in "The Front Page" in Chicago (1947) and served on the board of Actor's Equity in 1948. Nugent then became a television director on early New York-based programs like "Four Star Talent Search" and "Arthur Murray Party." He died at 90 in New York City.

-Walker, B.E., 2010, Mack Sennett's Fun Factory, McFarland&Company, Inc., Publishers, pp.533~534

[longblackliterature]

THE EMPTY SADNESS OF SUMMER

1. The Book of Disquiet, Fernando Pessoa // 2. Jenny Holzer said… , Eleanor Hsieh // 3. Have A Good Summer (Without Me), Valley // 4. You Don't Have to Like Me: Essays on Growing Up, Speaking Out, and Finding Feminism, Alida Nugent // 5. The Ballad of Songbirds and Snakes, Suzanne Collins // 6. Window in the Studio (1889), Vincent van Gogh // 7. Vestibule in the Asylum (1889), Vincent van Gogh // 8. Alone with You in the Ether, Olivie Blake // 9. Conversations with Friends, Sally Rooney // 10. Alexis Mari // 11. Sun in an Empty Room (1963), Edward Hopper // 12. By Grand Central Station I Sat Down and Wept, Elizabeth Smart

[byneddiedingo]

Rock Hudson and Jane Wyman in Magnificent Obsession (Douglas Sirk, 1954)

Cast: Jane Wyman, Rock Hudson, Agnes Moorehead, Otto Kruger, Barbara Rush, Gregg Palmer, Paul Cavanaugh, Sara Shane, Richard H. Cutting, Judy Nugent, Helen Kleeb. Screenplay: Robert Blees, Wells Root, based on a novel by Lloyd C. Douglas and a screenplay by Sarah Y. Mason and Victor Heerman. Cinematography: Russell Metty. Art direction: Bernard Herzbrun, Emrich Nicholson. Film editing: Milton Carruth. Music: Frank Skinner.

Lloyd C. Douglas, Lutheran pastor turned novelist, was in some ways the anti-Ayn Rand. His Magnificent Obsession, published in 1929 and first filmed in 1935 with Irene Dunne and Robert Taylor directed by John M. Stahl, advocates a kind of "pay it forward" altruism, the obverse of Rand's laissez-faire individualism. Douglas preached a gospel of service to others with no expectation of rewards to oneself. Fortunately, director Douglas Sirk and screenwriters Robert Blees and Wells Root keep the preaching in the 1954 remake down to a minimum -- mostly confining it to the preachiest of the film's characters, the artist Edward Randolph (Otto Kruger), but also using it as an essential element in the development of the central character, Bob Merrick (Rock Hudson), in his transition from heel to hero. This was Hudson's first major dramatic role, the one that launched him from Universal contract player into stardom. Not coincidentally, it was the second of nine films he made with Sirk, movies that range from the negligible Taza, Son of Cochise (1954) to the near-great Written on the Wind (1956). More than anyone, perhaps, Sirk was responsible for turning Hudson from just a handsome hunk with a publicist-concocted screen name into a movie actor of distinct skill. In Magnificent Obsession he demonstrates that essential film-acting technique: letting thought and emotion show on the face. It's a more effective performance than that of his co-star, Jane Wyman, though she was the one who got an Oscar nomination for the movie. As Helen Phillips, whose miseries are brought upon her by Merrick (through no actual fault of his own), Wyman has little to do but suffer stoically and unfocus her eyes to play blind. Hudson has an actual character arc to follow, and he does it quite well -- though reportedly not without multiple takes of his scenes, as Sirk coached him into what he wanted. What Sirk wanted, apparently, is a lush, Technicolor melodrama that somehow manages to make sense -- Sirk's great gift as a director being an ability to take melodrama seriously. Magnificent Obsession, like most of Sirk's films during the 1950s, was underestimated at the time by serious critics, but has undergone reevaluation after feminist critics began asking why films that center on women's lives were being treated as somehow inferior to those about men's. It's not, I think, a great film by any real critical standards -- there's still a little too much preaching and too much angelic choiring on the soundtrack, and the premise that a blind woman assisted by a nurse (Agnes Moorehead) with bright orange hair could elude discovery for months despite widespread efforts to find them stretches credulity a little too far. But it's made and acted with such conviction that I found myself yielding to it anyway.

[byneddiedingo]

Diana (Joan Crawford) is a Good Girl who people think is a Bad Girl because she likes to dance the Charleston on tabletops. Ann (Anita Page) is a Bad Girl posing as a Good Girl to try to land a rich husband. Beatrice (Dorothy Sebastian) is a Good Girl trying to hide the fact that she used to be a Bad Girl from Norman (Nils Asther), the man she has fallen in love with. And so it goes, as Ann steals Ben (Johnny Mack Brown) away from Diana, and Beatrice confesses her past sins to Norman, who marries her but doesn’t really trust her. This romantic melodrama was a big hit that established Crawford as a star. She’s lively and funny and dances a mean Charleston – a far cry from the long-suffering shoulder-padded Crawford of Mildred Pierce (Michael Curtiz, 1945) and the melodramas of her middle age, though we can see a hint of the Crawford to come when she squares off against Page, using her big eyes and lipsticked mouth as formidable weapons. The movie is semi-silent: It has a synchronized music track with some forgettable songs and occasional sound effects like the ring of a telephone and the knock on a door, and once there’s a spoken line from a bandleader: “Come on, Miss Diane, strut your stuff.” But most of the dialogue is confined to intertitles that tell us Diana has asked a boy to dance (“Wouldst fling a hoof with me?”) or that Freddie (Edward J. Nugent) has asked Ann if she wants a drink (“Lí'l hot baby want a cool li'l sip?”). The Jazz Age was probably never like this, even at its height, which was several years earlier, but there is fun to be had here. The story, such as it is, was by Josephine Lovett, and those title cards were the work of Marian Ainslee and Ruth Cummings, who give it a mildly feminist spin: Despite the slut-shaming, the film is solidly on the side of the rights of women to have a good time. Lovett’s story and George Barnes’s cinematography were considered for Oscars – there were no official nominations this year – but lost out. 

Joan Crawford in the opening moments of Our Dancing Daughters, 1928

[citizenscreen]

Robert Strauss and Carol Nugent in INSIDE THE MAFIA (1959). Director Edward L. Cahn

[ulkaralakbarova]

In 1978, a Kiss concert was an epoch-making event. For the three teen fans in Detroit Rock City getting tickets to the sold-out show becomes the focal point of their existence. They’ll do anything for tickets — compete in a strip club’s amateur-night contest, take on religious protesters, even rob a convenience store! Credits: TheMovieDb. Film Cast: Lex: Giuseppe Andrews Trip Hurudie: James DeBello Hawk: Edward Furlong Jeremiah ‘Jam’ Bruce: Sam Huntington Mrs. Bruce: Lin Shaye Beth Bumsteen: Melanie Lynskey Christine: Natasha Lyonne Amanda Finch: Shannon Tweed Barbara: Emmanuelle Chriqui Cashier: Kristin Booth Father Phillip McNulty: Joe Flaherty Chongo: Matthew G. Taylor Elvis: Miles Dougal Kenny: Nick Scotti Bobby: David Quane Mr. Stewart Bumsteen: Rodger Barton Mrs. Stewart Bumsteen: Kathryn Haggis Detroit Priest: David Gardner Little Kid: Cody Jones Study Hall Teacher: Joan Heney MC: Ron Jeremy Kiss: Gene Simmons Kiss: Paul Stanley Kiss: Ace Frehley Kiss: Peter Criss Scalper: Richard Hillman Guy in Red Track Suit (uncredited): Jason Biggs Beefy Guy #1: Kevin Corrigan Six Year Old #2: Ryan Letriard Beefy Guy #2: Steve Schirripa Ticket Taker: Julian Richings Film Crew: Casting: Valerie McCaffrey Editor: Mark Goldblatt Costume Design: Rosanna Norton Executive Producer: Michael De Luca Director of Photography: John R. Leonetti Original Music Composer: J. Peter Robinson Director: Adam Rifkin Production Design: Steve Hardie Writer: Carl V. Dupré Producer: Gene Simmons Executive Producer: Brian Witten Producer: Kathleen Haase Producer: Barry Levine Editor: Peter Schink Set Decoration: Carolyn A. Loucks Art Direction: Lucinda Zak Associate Producer: Tim Sullivan Stunt Coordinator: Alison Reid Co-Producer: Art Schaefer Movie Reviews: Wuchak: _**Great 70’s songs, sometimes amusing, but basically an insult to KISS fans**_ In 1978, four teenagers from Cleveland plan to go to a KISS concert in Detroit and have many misadventures reaching their goal. The four are played by Edward Furlong, Giuseppe Andrews, James DeBello and Sam Huntington. “Detroit Rock City” (1999) features great rock/metal from the 70s by KISS, AC/DC, Blue Oyster Cult, Van Halen, Sweet, Thin Lizzy, Nazareth, Styx, David Bowie, Cheap Trick, Black Sabbath, Ted Nugent, the Ramones, etc. There are some fun moments, but the tone is too over-the-top for its own good and the story isn’t very compelling. Couple this with some odious bathroom non-humor, a lack of attractive women beyond Natasha Lyonne and the negative one-dimensional depiction of the protagonists and you have a curiously disappointing teen flick. The focus on pot-obsessed dudes is disingenuous since Paul Stanley and Gene Simmons were never into the drug culture; their idea of a party was working hard creating music, performing, touring, making money and celebrating gorgeous women. Unsurprisingly, mind-blowingly beautiful females were always attracted to KISS and frequented their concerts; so were dynamic, talented males. I’m not saying pot-worshipping, denim-clad waifs weren’t an element of their fan base, but KISS devotees always involved WAY more than this. No wonder Paul Stanley lamented: “To call it a KISS movie does it a disservice, because it does a disservice to the KISS fans, which is what it’s really about.” The film runs 1 hour, 35 minutes, and was shot entirely in the Toronto area. GRADE: C-

[themirxcleisyou]

Somehow Charles managed to convince Ominis to bring them into Salazar's Scriptorium, it felt wrong, everything about this was wrong but if they could find answers it was worth it right?. Charles and Ominis bounded easily over their past trauma with the dark arts , so he knew how to talk to the heir about these things, even if he hated the idea of having to bring Ominis with them, but everyone needed some sort of answers even him.

As they wandered through the Scriptorium the hufflepuff started to find some sort of diary entries from Ominis's aunt Noctua, he read them to the slytherin everytime he found one, while Apollo and Sebastian where busy with the puzzles Salazar left behind, Charles also tried to help as best as he could. Then they got to the final test, a dark corridor dead end and the door behind them locked with no way back.

Charles walked towards the portrait at the end of the corridor finding what he assumed was Noctua's skeleton and reading the final entry to her nephew. On the ground the word crucio was glowing and the door had a mural of someone screaming in pain, it was too obvious andafter reading Noctua's entry even more, they had to cast the curse.

Charles stood in the middle of Sebastian and Apollo as he spoke "I- I can handle the pain, cast it on me...", then inmediately the redhead turned to him with a frowned expression clearly not happy about the idea.

"Are you insane!? you really think I'm letting you go through that? after all you've suffered with this curse?....", even if the tone was calm there was some tone of anger in it which was understable considering the situation they were in.

" It's fine, I don't want you or any of them to feel that pain, I know how it feels so I should be able to handle it better..." the hufflepuff tried to reason with them mostly Apollo because he knew the other would be the hardest one to convince.

"Ominis also knows how it feels and he is smart enough to not to want to go through any of it, NO we're not doing this... " it was a firm sentence leaving Charles with no option to protest only mutter a "But-" before he was cut. "Sebastian if one of us is casting this curse is gotta be me, if you are ready to face the consecuences, of course".

Sebastian's eyes widdened amused at the statement "wait!... you know how to cast crucio? " Apollo never talked about it to anyone only Charles knew about it because he had been there, when it happened, they were too young and Apollo wsa only trying to protect Charles but it still terrified everyone arround them when he did it, chatching everyone by surprise, after all who would think a kid knew how to wield such magic and more important without a wand. " I-huh...yeah it's a long story..." Apollo bitted his lip knowing Charles would not like the idea as he was the one frowning now, so the redhead rubbed his nape nervously before he continued " it's been ages since I did it but, I think I can do it again if I have to...".

Sebastian tilted his head, not entirely convinced but they needed to get out of here somehow, so he decided to trust his new friends " alright then, as long as we get out of here alive..., i guess I can handle the pain...." taking a deep breath he finally gave a reassuring nod he was ready to suffer the consequences anything to save Anne " let's do it! ".

Charles could hear Ominis pacing behind them and turned around to check on him "this is madness! why are we even discussing any of it! I shouldn't have agreed to do this!", that hit like a punch seeing Ominis in that state was horrible so he approached the slytheryn and put a reasuring hand against his shoulder carefully and gently. "They will be fine... they are both stubborn asses but they are right, this is our only solution if we don't want to end up like Noctua....I'm really sorry for involving you into this".

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Audio made with Ai

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Hope y'a'll enjoy it is the first drabble I post on this acc let me know it you would want to know more about these two or if you would like me to post more drabbles of my OCs here and on my main acc.

Sending all the luv <3

[wahwealth]

The Stars Look Down (1940) | Michael Redgrave | Margaret Lockwood |

he Stars Look Down movie is a British film released in 1940.  This classic film is based on A. J. Cronin's novel was written in 1935 with the same title.  The film is about injustices in a mining town in North East England. Coal miners,  who are led by Robert "Bob" Fenwick, vote to go on strike.  The miners are refusing to work in a particular section of the mine.  The reason is due to the great danger of flooding. Tensions rise as the strikers go hungry. Cast Michael Redgrave as David "Davey" Fenwick Margaret Lockwood as Jenny Sunley Emlyn Williams as Joe Gowlan Nancy Price as Martha Fenwick Allan Jeayes as Richard Barras Edward Rigby as Robert "Bob" Fenwick Linden Travers as Mrs. Laura Millington Cecil Parker as Stanley Millington Milton Rosmer as Harry Nugent, MP George Carney as Slogger Gowlan Ivor Barnard as Wept Olga Lindo as Mrs. Sunley Desmond Tester as Hughie Fenwick David Markham as Arthur Barras Aubrey Mallalieu as Hudspeth Kynaston Reeves as Strother Clive Baxter as Pat Reedy James Harcourt as Will Frederick Burtwell as Union Official Dorothy Hamilton as Mrs. Reedy Frank Atkinson as Miner David Horne as Mr. Wilkins Edmund Willard as Mr. Ramage Ben Williams as Harry Brace Scott Harrold as Schoolmaster Strother (as Scott Harold) You are invited to join the channel so that Mr. P can notify you when new videos are uploaded, https://www.youtube.com/@nrpsmovieclassics

[mylovelydeadfriends]

Edward Nugent and Josephine Dunn in Our Modern Maidens, 1929