#ivan f. simpson

[colorhollywood]

Mark of the Vampire (1935)

[letterboxd-loggd]

Safe in Hell (The Lost Lady) (1931) William A. Wellman

May 16th 2023

[raynbowclown]

Mark of the Vampire

[ljones41]

"RANDOM HARVEST" (1942) Review

"RANDOM HARVEST" (1942) Review

Between 1936 and 1942, author James Hilton enjoyed a prolific period of successful collaborations with the Hollywood studios. Some of those collaborations included writing screenplays for a handful of movies. However, three of those collaborations featured the screen adaptions of a handful of his best-selling novels. One of tho latter proved to be his 1941 novel, "Random Harvest".

Like some of Hilton's previous novels, "Random Harvest" proved to a very popular piece of work that became a major best-selling hit. Metro-Goldwyn-Mayer (MGM) purchased the film rights to novel and set an adaptation of it in motion. Mervyn LeRoy served as the movie's director and both Ronald Colman and Greer Garson were cast in the leads.

Unlike Hilton's novel, screenwriters Arthur Wimperis, George Froeschel and Claudine West abandoned the flashback narrative device for "RANDOM HARVEST". Because the novel had kept the duel identities of "Paula Ridgeway"/Margaret Hanson a secret until the very end, the screenwriters had decided to take a different approach, realizing it would have been difficult to maintain such a secret in this particular film, especially since the characters' faces - especially the leading lady's - must be seen. So . . . instead of treating the November 1918 sequence as a flashback, the screenwriters began the movie at that very moment with a British Army officer named "John Smith" confined to an asylum as an unidentified inmate.

On the day the war ends, the asylum's gatekeepers abandon their posts to join the celebration in the nearby Midlands town of Melbridge, and Smith follows him into town. There, he meets a music hall named Paula Ridgeway (stage name). Following a violent encounter with the leader of Paula's traveling theatrical group, she leads Smith away from Melbridge and they end up at a small Devon village. There, the couple fall in love, get married and conceive a son. Two years after they first met, Smith heads to Liverpool for a job interview at a newspaper. After a taxi hits him, while he was crossing the street, Smith regains his memories of his true self - Charles Rainier, the son of a wealthy Midlands businessman. Charles' return occurred on the day of his father's death and within a few years, assume control of the family's business. Unfortunately, Charles has lost his memories of his three years as "John Smith", including his relationship with Paula. The latter eventually discovers his whereabouts after a few years. When Paula - or Margaret Hanson - realizes that he does not remember her, she becomes his executive assistant in the hopes that her presence will jog his memories of those lost three years.

"RANDOM HARVEST" is not a perfect movie. What movie is? However, I can only think of one or two aspects about it that failed to impressed. It is quite clear that most of "RANDOM HARVEST" had been filmed inside a soundstage or on the MGM backlot. I have no general issues with this. In fact, I really admired Cedric Gibbons' art directions and Edwin B. Willis' set designs for the Melbridge street scenes. But there is one particular sequence - "Smith" and Paula's time in Devon - that looked particularly fake to me. I just did not find the Devon countryside featured in this movie convincing. But I really had a problem with the film's costume designs and hairstyles. "RANDOM HARVEST" was set during the years between 1918 and 1935. The movie had been shot and released in 1942. Robert Kalloch's costume designs did not reflect the movie's time period, as shown in the images below:

There was nothing about the dresses, suits, gowns, shoes and even the hairstyles that seemed to convey 1918-1919, the 1920s, or the early-to-mid 1930s.

But aside from these quibbles, I must be honest. I really enjoyed "RANDOM HARVEST". I have always enjoyed "RANDOM HARVEST". Between Mervyn LeRoy's direction and the screenplay written by Claudine West, George Froeschel and Arthur Wimperis; MGM released a movie that I believe proved to be one of the best romantic films I have ever seen. But the film's romance was enhanced by World War I's consequences upon Charles Ranier/John Smith's life and memories. "RANDOM HARVEST" not only struck me as a romantic film, but also a melancholic and sometimes, heartbreaking movie. Also, for a movie with a running time of 125 minutes, "RANDOM HARVEST" managed to maintain a steady pace, thanks to Mervyn LeRoy's direction. I found this mind boggling, considering I have found the pacing of many old movies from the 1930s and 1940s to be rather slow . . . almost to the point of dragging the movies to a stop. Thankfully, "RANDOM HARVEST" managed to convey a poignant and melancholy romance without putting me to sleep.

Certain aspects in the film's narrative managed rise "RANDOM HARVEST" above the usual tearjerker. The emotional impact of World War I upon Charles resulted in the creation of the melancholic and sad man struggling to deal with his amnesic state during the film's first half hour or so. Another scene featured Kitty Chilcet's - the stepdaughter of Charles' sister and his fiancee - discovery that he was not in love her. It proved to be one of the film's most haunting and emotionally devasting moments. One fabulous scene featured the revelation of Charles' secretary Margaret Hanson as Paula Ridgeway, the music hall entertainer he had married not long after the war. This revelation had led to a heartbreaking conversation between Margaret and Charles' former analyst and head of the Melridge asylum, Dr. Jonathan Benet, in which he advised her not to force her true identity upon Charles for the sake of his mental health. What made the film's second half even more poignant was Margaret's struggles to remain silent about hers and Charles' past, while stuck in what seemed like an arranged marriage between businessman and secretary.

"RANDOM HARVEST" managed to earn seven Academy Award nominations. Two of them were in the acting category - Best Actor for Ronald Colman and Best Supporting Actress for Susan Peters. For me, the two acting nominations served as a hint of the film's level of acting skills from the cast. There was not a performance that did not trouble me. The movie featured solid performances from Bramwell Fletcher, Rhys Williams, Melville Cooper, Jill Esmond, Alan Rapier, Ivan F. Simpson, Margaret Whycherly and Arthur Margetson. Una O'Connor and Reginald Owen both provided brief, yet entertaining performances as Melbridge citizens that Charles/"Smithy" had encountered on the night he had left the asylum. Henry Travers gave a poignant performance as doctor that the pair had befriended during their stay in Devon. Dutch actor Philip Dorn gave an intelligent, yet surprisingly emotional performance as Dr. Jonathan Benet, the gentle head doctor of the Melbridge asylum, who fell in love with Margaret/Paula years later.

Susan Peters reached the peak of her career in her portrayal of Kitty Chilcet, the step-daughter of Charles' sister. She gave an intelligent, yet lively performance as the charming, yet patient schoolgirl who managed to win Charles' heart. But in one scene in which Kitty realizes that Charles had memories of another love that would lead him to regard her as a stranger, Peters elevated her game and gave a subtle, yet skillful performance that led to an Oscar nomination for her. Of the three main leads, Greer Garson did not receive an acting nomination for her performance in "RANDOM HEART". Which seemed a pity to me, because I believe she really knocked it out of the ballpark as Margaret Hanson/"Paula Ridgeway", the music hall entertainer-turned-secretary who managed to win over Charles with her quiet wit, charm and warmth. Her rendition of the music hall song, "She's Ma Daisy", is something to behold. I believe Garson really shined in the film's second half, as her character struggled to nudge Charles into regaining his memories as "Smithy" and at the same time, keep her emotions and other identity in check during her "marriage of convenience" to him. In the end, Garson ended up being nominated for her performance in "MRS. MINIVER". She won in the end, but I cannot help wishing she had been nominated for her performance in "RANDOM HARVEST". For years, I have always pinpointed Ronald Colman as an actor known for his charm, dash and some pretty good acting skills. But in recent years, I have realized that I had underestimated just how skillful an actor he truly was. I thought he had given a phenomenon performance as a World War I amnesiac, who discovers he is a scion of a wealthy family. In scenes that featured "Smithy"'s confusion during the film's first thirty minutes, his confusion over his growing emotional dependence on Margaret and especially that one moment in which he regarded Kitty as a stranger, when his memories as Smithy returned briefly made me realize what a superb actor Colman truly was. It seemed a pity that he did not win the Best Actor award for that year.

It seems a miracle to me that Hollywood or anyone else has never considered making another serious adaptation of James Hilton's 1941 novel. Granted, that filmmaker or television producer would probably have great difficulty overcoming the ghost of the 1942 adaptation. I might as well say it . . . "RANDOM HARVEST" is excellent adaptation of Hilton's novel. Mervyn LeRoy did an excellent job in maintaining a strong pacing for such a melancholic story. Screenwriters Claudine West, George Froeschel and Arthur Wimperis had made some changes that proved to be very effective for the film's narrative. But without the excellent cast led by superb performances from Ronald Colman and Greer Garson, who knows if "RANDOM HARVEST" would have become the classic it now is.

[byneddiedingo]

Dorothy Mackaill in Safe in Hell (William A. Wellman, 1931)

Cast: Dorothy Mackaill, Donald Cook, Ralf Harolde, Morgan Wallace, John Wray, Ivan Simpson, Victor Varconi, Nina Mae McKinney, Charles Middleton, Clarence Muse, Gustav von Seyffertitz, Noble Johnson, Cecil Cunningham, George F. Marion. Screenplay: Joseph Jackson, Maude Fulton, based on a play by Houston Branch. Cinematography: Sidney Hickox. Art direction: Jack Okey. Film editing: Owen Marks. 

Seamy and salacious, Safe in Hell is sometimes cited as an example of what finally scared Hollywood into accepting the Production Code, except that you could hardly find a more conventionally moral fable than this tale of a call girl who gives up her sinful ways when her sailor comes back from sea and proposes marriage. Unfortunately, the man who done her wrong intervenes and Gilda (Dorothy Mackaill) is forced to flee to a Caribbean island populated mostly by men of the wrong sort. Still, she manages to hold on to her renewed virtue and rise to self-sacrificing heights at the end. Mackaill is terrific in the role, making me wonder why she's not well-known today. It's probably because most of her work was done in silent films and she was turning 30 when sound came in, putting her at a disadvantage against younger actresses like Bette Davis and Barbara Stanwyck when it came to landing lead roles. Director William A. Wellman had a steady hand with this kind of tough-edged melodrama, introducing touches of comedy like the crowd of lecherous barflies who live in the hotel Gilda moves into while waiting the return of Carl (Donald Cook), her sailor. When she moves into her room on the balcony at the top of the stairs, they turn around their chairs to face it, eager for whatever action may occur. They're not disappointed: Piet Van Saal (Ralf Harolde), the man she thought she killed, forcing her to flee to the island, turns up alive, and the island's lawman, its "jailer and executioner" in his words, the unsavory Mr. Bruno (Morgan Wallace), also takes an interest in her. It's a middling movie, mostly of historical interest, particularly in the appearance of two important Black actors, Clarence Muse and Nina Mae McKinney, in roles that don't call for them to kowtow too much to the whites or speak the standard dialect concocted for Black people in the movies. McKinney, best known today for her performance as Chick in King Vidor's Hallelujah (1929). gets to introduce the song "When It's Sleepy Time Down South," which became a jazz standard when Louis Armstrong popularized it. Muse, who plays a hotel porter, was one of its composers, along with Leon René and Otis René. 

[ulkaralakbarova]

A sweet-natured Temp Agency operator and amateur Presidential look-alike is recruited by the Secret Service to become a temporary stand-in for the President of the United States. Credits: TheMovieDb. Film Cast: Dave Kovic / Bill Mitchell: Kevin Kline Ellen Mitchell: Sigourney Weaver Bob Alexander: Frank Langella Alan Reed: Kevin Dunn Duane Stevenson: Ving Rhames Vice-President Nance: Ben Kingsley Murray Blum: Charles Grodin Alice: Faith Prince Randi: Laura Linney White House Tour Guide: Bonnie Hunt Senate Majority Leader: Parley Baer House Majority Leader: Stefan Gierasch Mrs. Travis: Anna Deavere Smith Policeman: Charles Hallahan Jerry: Tom Dugan Lola: Alba Oms Secret Service #1: Steve Witting David: Kellen Sampson White House Guard: Lexie Bigham Frederic W. Barnes: Frederic W. Barnes Ronald Brownstein: Ronald Brownstein Eleanor Clift: Eleanor Clift Tom Harkin: Tom Harkin Bernard Kalb: Bernard Kalb Larry King: Larry King Michael Kinsley: Michael Kinsley Morton Kondracke: Morton Kondracke Jay Leno: Jay Leno Frank Mankiewicz: Frank Mankiewicz Chris Matthews: Chris Matthews John McLaughlin: John McLaughlin Howard Metzenbaum: Howard Metzenbaum Abner J. Mikva: Abner J. Mikva Robert D. Novak: Robert D. Novak Tip O’Neill: Thomas P. ‘Tip’ O’Neill Richard Reeves: Richard Reeves Paul Simon: Paul Simon Ben Stein: Ben Stein Oliver Stone: Oliver Stone Kathleen Sullivan: Kathleen Sullivan Jeff Tackett: Jeff Tackett Helen Thomas: Helen Thomas Nina Totenberg: Nina Totenberg Sander Vanocur: Sander Vanocur John Yang: John Yang Don Durenberger: Stephen Root Girl at Durenberger’s: Catherine Reitman Mom at Durenberger’s: Dawn Arnemann Clara: Marianna Harris Diane: Sarah Marshall White House Barber: Ralph Manza President’s Physician: George Martin White House Nurse: Laurie Franks Trauma Doctor: Tom Kurlander Trauma Nurse: Dendrie Taylor Japanese Prime Minister: Joe Kuroda Vice-President’s Wife: Geneviève Robert Vice-President’s Son: Jason Reitman Secretary of Education: Ruth Goldway Director of OMB: Frank Birney Secretary of Treasury: Paul Collins Secretary of Commerce: Peter White Postmaster General: Robin Gammell Judy: Heather Hewitt Policeman #2: Gary Ross Ellen’s Aide: Jeffrey Joseph Female Senator: Bonnie Bartlett Speaker of the House: Robert Walsh Congressional Doorkeeper: William Pitts Reporter: Dan Butler Announcer: Wendy Gordon Announcer: Ben Patrick Johnson Announcer: Steve Kmetko Chris Dodd: Chris Dodd Alan K. Simpson: Alan K. Simpson Arnold Schwarzenegger: Arnold Schwarzenegger Film Crew: Set Designer: Joseph G. Pacelli Jr. Screenplay: Gary Ross Editor: Sheldon Kahn Production Design: J. Michael Riva Casting: Michael Chinich Director of Photography: Adam Greenberg Casting: Bonnie Timmermann Executive Producer: Joe Medjuck Set Designer: Darrell L. Wight Director: Ivan Reitman Set Designer: Steve Arnold Executive Producer: Michael C. Gross Costume Design: Richard Hornung Art Direction: David F. Klassen Set Decoration: Michael Taylor Producer: Lauren Shuler Donner Hairstylist: Christopher Shihar Casting Associate: Alan Berger Costume Supervisor: James W. Tyson Script Supervisor: Karen Hale Wookey Hairstylist: Marlene D. Williams Makeup Artist: Linda DeVetta Construction Coordinator: Terry Scott Makeup Artist: Robert Norin Original Music Composer: James Newton Howard Movie Reviews: Rob: A lovely romantic comedy in that true eighties style. A little charmer of a movie starring the ever-watchable Kevin Kline. I’ll admit I’m pretty old-fashioned and, even in today’s evil world, I cling to the hope there are still good-hearted people out there somewhere. This is one of those movies keeping that hope alive. Let the soft side of you out and enjoy this film.

[wahwealth]

Freddie Bartholomew, Dolores Costello, C. Aubrey Smith | Little Lord Fau...

Little Lord Fauntleroy is a novel by Frances Hodgson Burnett. It was published as a serial in St. Nicholas Magazine from November 1885 to October 1886, then as a book by Scribner's (the publisher of St. Nicholas) in 1886  Polly Hovarth writes that Little Lord Fauntleroy "was the Harry Potter of his time and Frances Hodgson Burnett was as celebrated for creating him as J. K. Rowling is for Potter". The film stars Freddie Bartholomew, Dolores Costello, and C. Aubrey Smith. The first film produced by David O. Selznick's Selznick International Pictures, it was the studio's most profitable film until Gone with the Wind. The film is directed by John Cromwell. Cast Freddie Bartholomew as Cedric "Ceddie" Errol, Lord Fauntleroy Dolores Costello Barrymore as "Dearest" Errol C. Aubrey Smith as the Earl of Dorincourt Guy Kibbee as Silas Hobbs Henry Stephenson as Mr Havisham Mickey Rooney as Dick Tipton, a Brooklyn bootblack Una O'Connor as Mary, the Errols' servant Constance Collier as Lady Constantia Lorridaile, Dorincourt's sister Jackie Searl as Tom Tipton Jessie Ralph as the Applewoman from Brooklyn Helen Flint as Minna Tipton Walter Kingsford as Joshua Snade, Minna's lawyer E. E. Clive as Sir Harry Lorridaile, Constantia's husband Ivan F. Simpson as Reverend Mordaunt Virginia Field as Miss Herbert, the singer at party Eric Alden as Ben Tipton, Dick's brother William Ingersoll as the Doctor The budget for the film was $500,000 and the move came in at the figure with a final cost of $590K.  By 1939, the movie was at a profit of $447K! Never miss a video. Join the channel so that Mr. P can notify you when new videos are uploaded: https://www.youtube.com/@nrpsmovieclassics

[ringneckedpheasant]

I have a few! kind of US centric, sorry

Brother to Brother: New Writing By Black Gay Men - edited by Essex Hemphill, conceived by Joseph Beam

Same-Sex Unions in Premodern Europe - John Boswell

Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century - John Boswell

Jeb and Dash: A Diary of Gay Life, 1918-1945 - edited by Ina Russell

Boy Erased: A Memoir of Identity, Faith, and Family - Garrard Conley

Gender Failure - Ivan E Coyote and Rae Spoon

The Bride Was a Boy - Chii

Cowboys, Armageddon, and the Truth - Scott Terry

+ some things from my reading list that might be of interest:

Precious and Adored: The Love Letters of Rose Cleveland and Evangeline Simpson Whipple, 1890-1918 - Lizzy Ehrenhalt, Tilly Laskey

Hijab Butch Blues - Lamya H

Land of 10,000 Loves: A History of Queer Minnesota - Stewart Van Cleve

Gentleman Jack: The Real Anne Lister - Anne Choma

Young Man From The Provinces: A Gay Life Before Stonewall - Alan Helm

A Secret I Can't Tell: The First Generation of Children from Openly Gay and Lesbian Homes - Joe Gantz

Homosexuality in Renaissance England - Alan Bray

Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance - James F Wilson

Homoeroticism in Classical Arabic Literature - JW wright, Everett K Rowson

The Deviant's War: The Homosexual vs. the United States of America - Eric Cervini

I, Pierre Seel, Deported Homosexual: A Memoir of Nazi Terror - Pierre Seel

The Evening Crowd at Kirmser's: A Gay Life in the 1940s - Ricardo J Brown

Gay Warriors: A Documentary History from the Ancient World to the Present - Anne Gilmour-Bryson, B.R. Burg, John Boswell

Unspeakable Love: Gay and Lesbian Life in the Middle East - Brian Whitaker, Anna Wilson

Hi! I was wondering, do you have any nonfiction queer book recs? I tried to check the link on your about page for your book recs, but it isn't working rn

i am not the person to ask about nonfiction recs, sorry! firmly rooted in the realm of fiction right now and probably the foreseeable future. for better or for worse this is my warrior's path

[ozu-teapot]

Mark of the Vampire | Tod Browning | 1935

Ivan F. Simpson, Donald Meek

[mariocki]

The Invisible Man Returns (1940)

"So you just let the lady walk out and ride away, eh?"

"I had nothing to hold Miss Manson on, sir; I had no instructions about her - and her looking so ill, sir..."

"Tewksbury, you're a credit to the force. You used brains. Watch her but don't scare her too much, that's our game. We can't expect to catch the quarry if we shut up the bait."

[filmforfancy]

[colorhollywood]

Mark of the Vampire (1935)

[letterboxd-loggd]

Mark of the Vampire (1935) Tod Browning

November 30th 2022

[guy-kissing-catboy]

please read the full post and like it so i know you've read it!

hi! you may call me catboy/cat/kitty (he/it pronouns), and i'm gay and i selfship (sorta.)

main f/o's at the moment and their corresponding oc's are:

-wolf and hoxton (payday) aksel/ghostie (👻)

-guzma (pokémon) theo (💀💙)

-james (pokémon) zaki (🚀)

-pavi largo (repo! the genetic opera) will fitz (🎭)

-piers (pokémon) ivan (🎸)

-twitch (payday) chase (❤️‍🔥)

-envy (fullmetal alchemist) not yet named (💚)

-donnie (rise of the teenage mutant ninja turtles) cecil (🐈)

-nearly all the jellicles from cats the musical (platonic/familial f/o's) hypnosalamus/hypnos (🐈‍⬛)

-zuko (avatar the last airbender) not yet named (🔥)

-adaman (pokémon) moru (🌷)

-rohan kishibe (jojo's bizarre adventure) basil (✒️💚)

-casey jr (rottmnt) milo (💀)

-pippit (the legend of zelda: skyward sword) not yet named (💛)

-mettaton (undertale) not yet named (💗🎙💗)

-ned flanders (the simpsons) judas (✝️)

-braeburn (my little pony) plush heart (🧸)

f/o's i am NOT comfortable sharing:

-wolf

-james

-piers

-pavi

-envy

-twitch

-donnie

-rohan

-pippit

crushes that could potentially become f/os at some point:

-val velocity (danger days: the true lives of the fabulous killjoys)

-knuckles the echidna (sonic the hedgehog)

-dabi/tōya todoroki (my hero academia)

-roy mustang (fullmetal alchemist)

-zim (invader zim)

-revali (the legend of zelda: breath of the wild)

-sun/sundrop/sunnydrop (five nights at freddy's: security breach)

-ryu hayabusa (ninja gaiden)

-yuri briar (spy x family)

please dni if: you are proship, if you selfship with any of the f/o's i am not comfortable sharing, or if you selfship with billy loomis or stu macher (personal reasons)

reminder that i am very new to the selfshipping community! please give me some slack, i don't 100% know the etiquette of this place yet. and all of my f/o's are romantic unless stated otherwise!!

[elcinelateleymickyandonie]

Ernest Cossart.

Filmografía

Cine

1916: The Pursuing Vengeance, de Martin Sabine.

1935: The Scoundrel, de Ben Hecht y Charles MacArthur.

1936: El gran Ziegfeld, de Robert Z. Leonard.

1936: Three Smarts Girls, de Henry Koster.

1936: Murder with Pictures, de Charles Barton.

1937: Angel, de Ernst Lubitsch.

1937: Champagne valse, de A. Edward Sutherland.

1939: Zaza, de George Cukor.

1939: Tower of London, de Rowland V. Lee.

1939: Three Smart Girls Grow Up, de Henry Koster.

1939: The Light that Failed, de William A. Wellman

1939: Lady of the Tropics, de Jack Conway.

1940: Kitty Foyle, de Sam Wood.

1940: Tom Brown's School Days, de Robert Stevenson.

1941: Skylark, de Mark Sandrich.

1942: Kings Row, de Sam Wood.

1945: Love Letters, de William Dieterle.

1945: Tonight and every Night, de Victor Saville.

1946: Cluny Brown, de Ernst Lubitsch.

1946: The Jolson Story, de Alfred E. Green

1947: Love from a Stranger, de Richard Whorf.

1949: John Loves Mary, de David Butler.

Teatro (Broadway)

1908: The Girls of Gottenberg, música de Ivan Caryll y Lionel Monckton, letras de Adrian Ross y Basil Hood.

1910: Mrs. Dot, de William Somerset Maugham, con Billie Burke.

1910: Love among the Lions, de Winchell Smith a partir de F. Anstey, con Ivan F. Simpson

1911: The Zebra, de Paul M. Potter a partir de Marcel Nancey y Paul Armont.

1912: The Typhoon, de Emil Nyitray y Byron Ongley a partir de Menyhert Lengyel.

1914: Marrying Money, de Washington Pezey y Bertram Marbugh.

1915: Androcles and the Lion, de George Bernard Shaw.

1915: The Man who married a Dumb Wife, de Anatole France, con Isabel Jeans.

1915: El sueño de una noche de verano, de William Shakespeare, con Isabel Jeans.

1915: The Doctor's Dilemma, de George Bernard Shaw.

1915: Sherman was right, de Frank Mandel.

1920-1921: The Skin Game, de John Galsworthy.

1921: The Title, de Arnold Bennett, interpretada y dirigida por Lumsden Hare.

1922: HE Who gets slapped, de Leónidas Andreiev, adaptada por Gregory Zilboorg, con Richard Bennett, Margalo Gillmore, Edgar Stehli, Henry Travers y Helen Westley.

1922: From Morn to Midnight, de Georg Kaiser, adaptada por Ashley Dukes, con Allyn Joslyn, Edgar Stehli, Henry Travers y Helen Westley.

1922-1923: Seis personajes en busca de autor, de Luigi Pirandello, adaptada por Edward Storer, con Florence Eldridge.

1923: The Love Habit, adaptación de Gladys Unger a partir de Pour avoir Adrienne, de Louis Verneuil, con Florence Eldridge.

1923: Casanova, de Lorenzo De Azertis, adaptada por Sidney Howard.

1923-1924: Santa Juana, de George Bernard Shaw, con Henry Travers.

1924: Seis personajes en busca de autor.

1924: The Steam Roller, de Laurence Eyre.

1924-1925: Cándida, de George Bernard Shaw, con Pedro de Cordoba.

1925-1926: Arms and the Man, de George Bernard Shaw, con Pedro de Cordoba y Henry Travers.

1926: The Chief Thing, de Nikolaï Evreinov, adaptada por Leo Randole y Herman Bernstein, con Romney Brent, Edward G. Robinson, Lee Strasberg, Henry Travers y Helen Westley.

1926-1927: Loose Ankles, de Sam Janney.

1926-1927: What never dies, de Alexander Engel, adaptada por Ernest Boyd.

1927-1928: The Doctor's Dilemma, de George Bernard Shaw, con Margalo Gillmore, Alfred Lunt, Henry Travers y Helen Westley.

1928: Marco Millions, de Eugene O'Neill, escenografía de Rouben Mamoulian, con Robert Barrat, Albert Dekker, Margalo Gillmore, Alfred Lunt, Vincent Sherman y Henry Travers.

1928: Volpone, de Ben Jonson, adaptada por Ruth Langner, con Albert Dekker, Margalo Gillmore, Alfred Lunt, Vincent Sherman, Henry Travers y Helen Westley.

1928-1929: Caprice, de Philip Moeller, con Douglass Montgomery.

1929: Becky Sharp, de Langdon Mitchell, a partir de La feria de las vanidades, de William Makepeace Thackeray, con Etienne Girardot, Arthur Hohl, Basil Sydney y Leonard Willey.

1930: The Apple Cart, de George Bernard Shaw, con Violet Kemble-Cooper, Tom Powers, Claude Rains y Helen Westley.

1930: Milestones, de Arnold Bennett y Edward Knoblauch, con Beulah Bondi y Selena Royle.

1931: Getting Married, de George Bernard Shaw, con Romney Brent, Dorothy Gish, Henry Travers y Helen Westley.

1931: The Way of the World, de William Congreve, con Walter Hampden, Gene Lockhart, Kathleen Lockhart, Selena Royle y Cora Witherspoon.

1931: The Roof, de John Galsworthy, con Henry Hull y Selena Royle.

1932: The Devil passes, de Benn W. Levy, con Eric Blore, Arthur Byron, Mary Nash y Basil Rathbone.

1932: Too true to be good, de George Bernard Shaw, escenografía de Leslie Banks, con Leo G. Carroll y Claude Rains.

1933: The Mask and the Face, de W. Somerset Maugham, con Leo G. Carroll y Humphrey Bogart

1933-1934: Mary of Scotland, de Maxwell Anderson, con Helen Hayes, Edgar Barrier, George Coulouris, Philip Merivale, Moroni Olsen y Leonard Willey.

1935: Accent on Youth, de Benn W. Levy

1937: Madame Bovary, de Benn W. Levy, a partir de Gustave Flaubert, con Eric Portman y O. Z. Whitehead.

1945: Devils Galore, de Eugene Vale.

1948: The Play's the Thing, de Ferenc Molnár, adaptada por P. G. Wodehouse, con Louis Calhern, Francis Compton y Faye Emerson.

1949: The Ivy Green, de Mervyn Nelson, con Hurd Hatfield.

Créditos: Tomado de Wikipedia

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

[ao3feed-lukanette]

by BooksRBetterThanPeople

Rewrites of the Simpsons Treehouse of Horror with Miraculous characters. From parodies of old horror movies to freaky stuff I thought of, enjoy this crack fest

Words: 375, Chapters: 1/?, Language: English

Fandoms: Miraculous Ladybug, The Simpsons

Rating: General Audiences

Warnings: Creator Chose Not To Use Archive Warnings, Major Character Death

Categories: F/F, F/M, M/M

Characters: Marinette Dupain-Cheng | Ladybug, Adrien Agreste | Chat Noir, Luka Couffaine, Juleka Couffaine, Rose Lavillant, Alix Kudbel, Lê Chiến Kim, Ivan Bruel, Mylène Haprèle, Nathaniel Kurtzberg, Marc Anciel, Nino Lahiffe, Alya Césaire, Lila Rossi, Aurore Boureal, Mireille Caquet, Sabrina Raincomprix, Chloé Bourgeois, Félix Graham de Vanily

Relationships: Luka Couffaine/Marinette Dupain-Cheng | Ladybug, Adrien Agreste | Chat Noir/Kagami Tsurugi, Marc Anciel/Nathaniel Kurtzberg, Nino Lahiffe/Alya Césaire

Additional Tags: Treehouse of Horror, Parody, Halloween, Scary Stories, The Author Regrets Nothing, Ghosts, Murder, Werewolves, Vampires, Possession