Podcast appearances and mentions of Frances Goodrich

After Dave treats us to a “Thunderbolts*” mini-review and John discusses “The Accountant 2”, the boys dive into the year 1934 to discuss “The Thin Man”, a film so successful and unique it spawned FIVE sequels and made a dog one of the most famous dogs in cinema history. Written by a husband-and-wife team, “The Thin Man” is a detective “pseudo-comedy” whodunit with tension, laughs, fun, mystery, and intrigue, all done by some stellar characters. Grab a beer and join us for a ride! Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 6:50 Tariffs & Incenstives; 19:38 Dave's “Thunderbolts*” mini-review; 22:28 John's “The Accountant 2” mini-review; 27:27 Gripes; 32:12 1934 Year in Review; 54:33 Films of 1934: “The Thin Man”; 1:27:19 What You Been Watching?; 1:32:58 Next Week's Movie Announcement Additional Cast/Crew: William Powell, Myrna, Maureen O'Sullivan, Nat Pendleton, W.S. Van Dyke, Albert Hackett, Frances Goodrich, Dashiell Hammett, James Wong Howe, Florence Pugh, Sebastian Stan, Julia Louis-Dreyfus, Lewis Pullman, David Harbour, Wyatt Russell, Hannah John-Kamen, Jake Schreier, Stan Lee, Ben Affleck, Jon Bernthal, J.K. Simmons, Cynthia Addai-Robinson, Daniella Pineda, Gavin O'Connor, Bill Dubuque. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: The New Avengers, Iron Man, Marvel, MCU, The Suicide Squad, New Mutants, France, The War of 1812, Napoleon, Russia, Russian History, Aristocracy, Dueling, Swans, Ducks, Chickens, Generals, Mean Streets, Taxi Driver, Black Mirror, Slow Horses, The First Look, Ben Mendelsohn, French Accents, The Monuments Men, George Clooney, The Stock Market Crash, Bear Market, Trains, Locomotions, Museums, Fuhrermuseum, Nazis, WWII movies, WWI Shows, Plastic ExplosivesThe Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir.   

Lux Radio Theatre | Up Pops the Devil (Fred MacMurray, Madge Evans) | October 18, 1937Movie Info -- Up Pops the Devil is a 1931 American pre-Code comedy drama film directed by A. Edward Sutherland. The screenplay concerns an advertising man (Norman Foster) who quits his job to become a novelist, upsetting his wife (Carole Lombard) and straining their marriage. The film was released by Paramount Pictures. The screenplay is based on a 3-act play of the same name written by Albert Hackett and Frances Goodrich; the play ran on Broadway for 148 performances from September 1930 to January 1931 at the Theatre Masque.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESSubscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#dramaclassics #oldtimeradio #otr #radiotheater #radioclassics #luxradio #cecilbdemille #gunsmoke #oldtimeradioclassics #classicradio #crimeclassics #duaneotr:::: :

It's a Wonderful Life here on the Finding Good Bones podcast with our guest Nancy Guzman - fiber artist, witch, tarot reader, horror film fanatic, sci-fi enthusiast, and a Gemini with too many hobbies - as we take a look at this holiday classic from Frank Capra. We discuss the underplayed darkness in the film, the blinders depression can put on a person, and the joy we can all create without even knowing it. Did you hear that? A capitalist angel just got its wings!

Dana and Tom discuss The Diary of Anne Frank (1959): directed by George Stevens, written by Frances Goodrich and Albert Hackett, music by Alfred Newman, starring Millie Perkins, Joseph Schildkraut, and Shelley Winters.Plot Summary: "The Diary of Anne Frank" is a poignant film adaptation of the stage play based on the iconic diary written by Anne Frank, a Jewish girl who, along with her family and a few others, hid from the Nazis in an attic in Amsterdam during World War II.The film portrays the daily struggles, fears, and hopes of the occupants as they try to evade discovery by the Nazis while enduring the harsh realities of confinement. Through Anne's eyes, viewers witness her coming of age amidst the turmoil of war, grappling with typical teenage issues while also confronting the atrocities of the Holocaust. The film, directed by Geroge Stevens, captures the resilience of the human spirit in the face of unimaginable adversity, ultimately leaving a profound and lasting impact on audiences as they bear witness to one of the darkest chapters in history.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the episode, go to: https://www.ronnyduncanstudios.com/post/the-diary-of-anne-frank-1959For the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios

Bienvenidos a Podcastwood. El hogar de las estrellas, el podcast sobre los pilares del cine y donde solo las películas consideradas como obras maestras del séptimo arte son analizadas e invitadas a esta selecta hora de la podcastfera cinéfila española. 2️⃣✖1️⃣3️⃣ | ¡QUÉ BELLO ES VIVIR! Clarence (Henry Travers), un ángel de segunda clase, es enviado a la Tierra con la misión de convencer a George Bailey (James Stewart, 'Historias de Filadelfia'), un honrado ciudadano de la pequeña localidad de Bedford Falls, de que no se suicide. El ángel debe mostrar a George cuál habría sido la vida de aquellos que le rodean si él no hubiera existido. Con un acusado sentido del deber, a lo largo de su existencia, Bailey siempre ha sacrificado sus sueños por el bien común. Desde pequeño su intervención resulta decisiva para salvar de la muerte a su hermano menor, en un accidente en un lago helado. También evita un error fatal del boticario para el que trabaja. Estas y otras muchas buenas acciones de Bailey han hecho de Bedford Falls un sitio mejor. El objetivo de Clarence es que así lo vea George, insuflándole fuerzas para que pueda seguir adelante con su vida. Si lo consigue, Clarence obtendrá unas alas que todavía no le han sido concedidas. Dirigida por Frank Capra, quien co-guioniza la historia junto a Frances Goodrich y Albert Hackett. Musicaliza el compositor habitual de Capra, Dimitri Tiomkin. Dirigen la fotografía Joseph Walkery Joseph F. Biroc. ¿Conoces cuáles son los motivos por los que esta película se convirtió en todo un clásico por accidente?. ¿Sabías que consecuencias tuvieron que lidiar Frank Capra y james Stewart tras su participación en IIGM?. ¿Qué influencia jugó la obra literaria de Charles Dickens en la creación de esta historia?. Y debatimos, ¿cambia tanto el mundo la ausencia de una persona? Camina junto a Fran Maestra y Gonzalo Cuélliga por El Paseo de la Fama escuchando este podcast de cine clásico que homenajea a ¡Qué Bello es Vivir!. SECCIONES ▪️ Contexto ▪️ Clásico por accidente ▪️ Las consecuencias de la guerra para Capra y Stewart ▪️ La influencia de Charles Dickens ▪️ ¿Cambia tanto el mundo la ausencia de una persona? ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/2x13-podcastwood-que-bello-es-vivir/ ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra y Gonzalo Cuélliga ▪️ Locución: Marta Navas Podcastwood | 2023

You go after him, and you'll find his shadow - or his song - and you'll have to go home. There'll never be another: THIN MAN! Jen Johans (Watch With Jen podcast) joins the Better Than the Movie crew for a holiday classic (of sorts). It's the William Powell and Myrna Loy comic mystery that launched a 6-film series, THE THIN MAN, directed by W.S. Van Dyke, with a script by Frances Goodrich and Albert Hackett, based on the novel by the great Dashiell Hammett. This is Nick and Nora, and NO infinite playlist. Tyler, Allan, Justin, and Jen also discuss other offbeat yuletide tales that AREN'T freakin' DIE HARD. Produced by Allan Traylor and Justin Remer.  Recorded at the LAPL Octavia Lab.  Opening music: "Optimism (Instrumental)" by Duck the Piano Wire  Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band 

In the first episode of "Playing Anne Frank," discover how "The Diary of Anne Frank" became one of the most iconic plays and movies of the 20th Century. Hear how the diary was written; how Otto Frank found a publisher for it; how it was adapted by Meyer Levin — first as a radio play then as a stage play, then how he got fired from the job and replaced by Frances Goodrich and Albert Hackett (enough drama for a whole podcast series, let alone an episode); and finally, how the show was cast and staged for Broadway.

Merry Christmas! We're talking about It's a Wonderful Life (1946) and It's a Very Merry Muppet Christmas Movie (2002) - two films about prominent and well-loved members of a community going through hardship and being shown a world in which they were never born-----The Movies:It's a Wonderful Life (1946)Directed by Frank CapraWritten by Frank Capra, Frances Goodrich & Albert HackettIMDb Rating: 8.6It's a Very Merry Muppet Christmas Movie (2002)Directed by Kirk R. ThatcherWritten by Tom Martin & Jim LewisIMDb Rating: 6.3-----Find us on:Discord - https://discord.gg/dxgmcfj552Facebook - @ItTakesTwoPodTwitter - @ItTakesTwo_podInstagram - @ItTakesTwo_podOur website - ItTakesTwo.co.nz-----Content warning: Discussions of suicide and suicidal ideation

Transcript: …The woman I’m going to start with is Jeannie McPherson who is also a famous silent film screenwriter of that period. As famous as Marion was in her own day. Forgotten much in the history books because she wrote for Cecil B. Demille. She wrote all the films that he made that made money. … Continue reading "01 Introduction From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson's Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]" Related posts: From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson's Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete) The ‘Strongheart’ of Screenwriter Jane Murfin – Dr. Rosanne Welch, Script Magazine, September 2022 17 Albert Hackett & Frances Goodrich from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute)

At the recent Screenwriting Research Network conference in Vienna, I gave this talk titled “From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson's Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S.” In the talk, I trace the ways a manual about screenwriting by silent film writer Jeanne … Continue reading "From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson's Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)" Related posts: 17 Albert Hackett & Frances Goodrich from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute) 38 More On International TV Shows and the US from Why Researching Screenwriters Has Always Mattered [Video] (1 minute 18 seconds) 01 Introduction from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

When Robert Draper of the New York Times recently asked Rose Sperry, a state committeewoman for Arizona's G.O.P., to name the first Republican leader she ever admired, she immediately mentioned former Wisconsin senator Joe McCarthy. “I grew up during the time that Joe McCarthy was doing his talking,” Sperry said. “I was young, but I was listening. If he were here today, I would say, ‘Get him in there as president!'”I also grew up during the time Joe McCarthy was “doing his talking,” and I was young and listening, too. But I would not want Joe McCarthy to be president. Neither, let me add, did my father. Ed Reich called himself a liberal Republican, in the days when such creatures still existed. He voted for Thomas Dewey in 1948 (cancelling my mother's vote for Harry Truman), and then for Dwight Eisenhower in 1952 and 1956 (cancelling my mother's votes for Adlai Stevenson), and he thought highly of New York State's Republican governor, Nelson Rockefeller, and its Republican senator, Jacob Javits — neither of whom would last a second in today's G.O.P.But Ed Reich could not abide bullies and he detested Joe McCarthy. My father thought that anyone who had to bully someone else to feel good about himself was despicable. Bullying led to antisemitism and antisemitism had led to the holocaust. In 1947, Ed Reich moved us from Scranton to a little village in the country some sixty miles north of New York City, called South Salem, so as to be within equal driving distance of his two women's clothing stores, in Norwalk, Connecticut, and Peekskill, New York. Soon after we arrived, a delegation of older men from the village came by to inform us that South Salem was a “Christian community” and we were not welcome there. That was the day my father decided we'd stay put in South Salem. “I'll show those b******s,” he said. Senator Joseph McCarthy had a special place in Ed Reich's pantheon of evil bullies. McCarthy didn't just attack those he claimed were members of the Communist Party. He did it with malice. McCarthy's crusade against “subversives” extended into the mainstream of America and American politics, as he ridiculed the “pitiful squealing” of “those egg-sucking phony liberals” who “would hold sacrosanct those Communists and queers.” Every time McCarthy's image came across the six-inch screen on the Magnavox television in our living room, my father would shout “son of a B***H” so loudly it made me shudder. In Many are the Crimes: McCarthyism in America, historian Ellen Wolf Schrecker describes a movement that “punished thousands of law-abiding Americans and scared millions more into silence, destroying much of the left and seriously narrowing the political spectrum.” McCarthyism was the byproduct of the Republican Party's postwar effort to eradicate the New Deal by linking it to communism. The G.O.P. portrayed the midterm election of 1946 as a “battle between Republicanism and communism.” The Republican National Committee chairman claimed that the federal bureaucracy was filled with “pink puppets.” According to John Nichols, in The Fight for the Soul of the Democratic Party, Southern segregationist Democrats joined the red-baiting rhetoric. Mississippi senator Theodore Bilbo, a Klansman who had filibustered to block anti-lynching legislation, described multiracial labor unions' advocacy for civil rights as the work of “northern communists.” Representative John Elliott Rankin, a fiercely racist and antisemitic Mississippi Democrat who helped establish the House Un-American Activities Committee as a standing congressional committee, called the CIO's Southern organizing campaign “a communist plot” and charged that it would lead to more Black voting rights. “We're asleep at the switch,” he warned. “They're taking over this country; we've got to stop them if we want this country.”The backlash was successful. In the 1946 midterms, Democrats lost control of both the Senate and the House. Wisconsin ended its era of progressive Republican La Follettes and sent Joe McCarthy to the Senate. California replaced New Dealer Jerry Voorhis with a young Republican lawyer who had already figured out how to use red-baiting as a political tool. His name was Richard Nixon. In December 1946, at the founding convention of the Progressive Citizens of America, FDR's former vice president, Henry Wallace, saw the red scare for what it was — a tool of the most powerful economic forces in America. “We shall … repel all the attacks of the plutocrats and monopolists who will brand us as Reds,” he said. If it is traitorous to believe in peace — we are traitors. If it is communistic to believe in prosperity for all — we are communists. If it is unAmerican to believe in freedom from monopolistic dictation — we are unAmerican. We are more American than the neo-Fascists who attack us. The more we are attacked the more likely we are to succeed, provided we are ready and willing to counterattack.But there was no counterattack. The red scare continued to gain ground, encouraged by J. Edgar Hoover, the first director of the F.B.I. Soon after the release of Frank Capra's loving ode to America, “It's a Wonderful Life” in January 1947, the F.B.I. (using a report by an ad-hoc group that included Fountainhead writer and future Trump pin-up girl Ayn Rand) warned that the movie represented “rather obvious attempts to discredit bankers by casting Lionel Barrymore as a ‘scrooge-type' so that he would be the most hated man in the picture.” The movie “deliberately maligned the upper class, attempting to show the people who had money were mean and despicable characters. This … is a common trick used by Communists.” The F.B.I. report compared “It's a Wonderful Life” to a Soviet film, and alleged that Frank Capra was “associated with left-wing groups” and that screenwriters Frances Goodrich and Albert Hackett were “very close to known Communists.”President Truman succumbed to the mounting anti-communist hysteria. On March 21, 1947 he signed Executive Order 9835, the Loyalty Order that ushered in loyalty oaths and background checks, and created the Attorney General's List of Subversive Organizations. Yet the progressive left remained silent. As the 1950 election approached, a Times headline announced that the “Left is Silent in Campaign.” Even the American Civil Liberties Union, whose roots lay in the first Red Scare of the World War I era, was reluctant to take the lead in opposing the threat to civil liberties in the second Red Scare of the 1950s. California Representative Helen Gahagan Douglas, dubbed the “Pink Lady” for her supposed communist sympathies, tried for the Senate in 1950. She survived a bitter primary battle only to be beaten in November by red-bater Richard Nixon. On June 9, 1954, I sat at my father's side on our living room couch, watching the Army-McCarthy hearings. McCarthy had accused the U.S. Army of having poor security at a top-secret facility. Joseph Welch, a private attorney, was representing the Army. McCarthy charged that one of Welch's young staff attorneys was a communist. “Son of a B***H,” my father shouted.As McCarthy continued his attack on Welch's staff attorney, Welch broke in, “Until this moment, Senator, I think I never really gauged your cruelty or your recklessness.”I was spellbound. McCarthy didn't stop. “Son of a B***H,” Ed Reich shouted ten times more loudly. The earth shook. At this point, Welch demanded that McCarthy listen to him. “Let us not assassinate this lad further, Senator,” he said. “You have done enough. Have you no sense of decency?” Almost overnight, as the Senate Historical Office recounts, “McCarthy's immense national popularity evaporated. Censured by his Senate colleagues, ostracized by his party and ignored by the press, McCarthy died three years later, 48 years old and a broken man.”***During the Army-McCarthy hearings, McCarthy's chief counsel was Roy Cohn. Cohn had gained prominence as the Department of Justice attorney who successfully prosecuted Julius and Ethel Rosenberg for espionage, leading to their execution in 1953. The Rosenberg trial had brought the 24-year-old Cohn to the attention of J. Edgar Hoover, who convinced McCarthy to hire Cohn as chief counsel for McCarthy's Senate Permanent Subcommittee on Investigations, where Cohn became known for his aggressive questioning of suspected communists. My father thought Roy Cohn almost as despicable as Joe McCarthy. After McCarthy's downfall, Cohn proved useful to a young New York real estate developer named Donald Trump who was then undertaking several large construction projects in Manhattan and needed a fixer and mentor. Cohn filled both roles. Fred Trump had got his son's career started by bringing him into the family business of middle-class rentals in Brooklyn and Queens. Cohn established Donald in Manhattan, introducing him to New York's social and political elite, and defending him against a growing list of enemies.In 1973, the Justice Department accused Trump of violating the Fair Housing Act of 1968 in thirty-nine of his properties, alleging that Trump quoted different rental terms and conditions to prospective tenants based on their race, and made false “no vacancy” statements to Black people seeking to rent. Representing Trump, Roy Cohn filed a countersuit against the government for $100 million, asserting that the charges were “irresponsible and baseless.” Although the countersuit was unsuccessful, Trump settled the charges out of court in 1975, asserting he was satisfied that the agreement did not “compel the Trump organization to accept persons on welfare as tenants unless as qualified as any other tenant.” Three years later, when the Trump Organization was again in court, this time for violating terms of the 1975 settlement, Cohn called the charges “nothing more than a rehash of complaints by a couple of planted malcontents.” Trump denied the charges. Cohn was also involved in the construction of Trump Tower, helping secure concrete during a city-wide Teamster strike through a union leader linked to a mob boss. At about this time, Cohn introduced Trump to another of Cohn's clients, Rupert Murdoch. During Ronald Reagan's 1980 presidential campaign, Cohn helped a young Roger Stone arrange for John Anderson to be nominated by New York's Liberal Party, thereby splitting the state's opposition to Reagan and allowing Reagan to carry the state with 46 percent of the vote. Stone later recounted that Cohn gave him a suitcase to be dropped off at the office of a lawyer influential in Liberal Party circles. Speaking after the statute of limitations for bribery had expired, Stone said, “I paid his law firm. Legal fees. I don't know what he did for the money, but whatever it was, the Liberal Party reached its right conclusion out of a matter of principle.”In 1986, Cohn was disbarred by the New York State Bar for unethical conduct after attempting to defraud a dying client by forcing the client to sign a will amendment leaving Cohn his fortune. (Cohn died five weeks later from AIDS-related complications.)In his first and best-known book, “The Art of the Deal,” Trump distinguished between integrity and loyalty — and made clear he preferred loyalty. Trump compared Roy Cohn to “all the hundreds of ‘respectable' guys who make careers out of boasting about their uncompromising integrity but have absolutely no loyalty ... What I liked most about Roy Cohn was that he would do just the opposite.” This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertreich.substack.com/subscribe

0:00 - Intro & Summary2:00 - Movie Discussion44:48 - Cast & Crew/Awards50:51 - Pop Culture56:39 - TV1:02:06 - Music1:05:57 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

My post yesterday on the real lesson of January 6 provoked a great discussion (many thanks to those of you who participated). It also prompted me to rewatch a movie that provides a hint of an answer — Frank Capra's “It's a Wonderful Life,” which was released 75 years ago this month. When I first saw the movie in the late 1960s, I thought it pure hokum. America was coming apart over Vietnam and the assassinations of Martin Luther King, Jr. and Robert F. Kennedy, and I remember thinking the movie could have been produced by some propaganda bureau of the government that had been told to create a white-washed (and white) version of the United States. But in more recent years I've come around. As America has moved closer to being an oligarchy — with staggering inequalities of income, wealth, and power not seen in over a century — and closer to Trumpian neofascism (the two moves are connected), “It's a Wonderful Life” speaks to what's gone wrong and what must be done to make it right. As you probably know (and if you don't, this weekend would be a good time to watch it), the movie's central conflict is between Mr. Potter (played by Lionel Barrymore) and George Bailey (Jimmy Stewart). Potter is a greedy and cruel banker. George is the generous and honorable head of Bedford Fall's building-and-loan — the one entity standing in the way of Potter's total domination of the town. When George accidentally loses some deposits that fall into the hands of Potter, Potter sees an opportunity to ruin George. This brings George to the bridge where he contemplates suicide, thinking his life has been worthless — before a guardian angel's counsel turns him homeward.It's two radically opposed versions of America. In Potter's social-Darwinist view, people compete with one another for resources. Those who succeed deserve to win because they've outrun everyone else in that competitive race. After the death of George's father, who founded the building-and-loan, Potter moves to dissolve it — claiming George's father “was not a businessman. He was a man of high ideals, so-called, but ideals without common sense can ruin a town.” For Potter, common sense is not coddling the “discontented rabble.” In George's view, Bedford Falls is a community whose members help each other. He tells Potter that the so-called “rabble … do most of the working and paying and living and dying in this community.” His father helped them build homes on credit so they could afford a decent life. “People were human beings to him,” George tells Potter, “but to you, they're cattle.”When George contemplates ending it all, his guardian angel shows him how bleak Bedford Falls would be had George never lived — poor, fearful, and dependent on Potter. The movie ends when everyone George has helped (virtually the entire town) pitch in to bail out George and his building-and-loan. It's a cartoon, of course — but a cartoon that's fast becoming a reality in America. Do we join together or let the Potters of America own and run everything? Soon after “It's a Wonderful Life” was released, the FBI considered it evidence of Communist Party infiltration of the film industry. The FBI's Los Angeles field office — using a report by an ad-hoc group that included Fountainhead writer and future Trump pin-up girl Ayn Rand — warned that the movie represented “rather obvious attempts to discredit bankers by casting Lionel Barrymore as a ‘scrooge-type' so that he would be the most hated man in the picture.” The movie “deliberately maligned the upper class, attempting to show the people who had money were mean and despicable characters. This … is a common trick used by Communists.” The FBI report compared “It's a Wonderful Life” to a Soviet film, and alleged that Frank Capra was “associated with left-wing groups” and that screenwriters Frances Goodrich and Albert Hackett were “very close to known Communists.”This was all rubbish, of course — and a prelude to the Red Scare led by Republican Senator Joe McCarthy of Wisconsin, who launched a series of highly publicized probes into alleged Communist penetration of Hollywood, the State Department, and even the US Army. The movie was also prelude to modern Republican ideology. Since Ronald Reagan, Republicans have used Potter-like social Darwinism to justify everything tax cuts for the wealthy, union-busting, and cutbacks in social safety nets. Rand herself became a hero to many in the Trump administration. Above all, Reagan Republicans, CEOs, and Trumpers have used the strategy of “divide-and-conquer” to generate division among Americans (a kind of political social-Darwinism). That way, Americans stay angry and suspicious of one another, and don't look upward to see where all the money and power have gone. And won't join together to claim it back. What would Republicans say about “It's a Wonderful Life” if it were released today? They'd probably call it socialist rather than communist, but it would make them squirm all the same — especially given the eery similarity between Lionel Barrymore's Mr. Potter and you know who. Thanks for subscribing to my newsletter on power, politics, and the real economy. If you'd like to support this work, please consider becoming a paid subscriber or offering a gift subscription. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertreich.substack.com/subscribe

Welcome to 'Don't You Want Me?' - a podcast series taking a lighthearted look at the most relatable, intriguing and dysfunctional relationships in film.  We have a handful of festive bonus editions this year focusing on four tinsel-covered films, one chosen by Rich, one by Cat, one by the folk at Santa's workshop (i.e Twitter) and this gem, chosen by Paul Abbott, who composed the fantastic music you hear at the start of each episode. We're talking about the 1934 festive comedy-mystery The Thin Man directed by W. S. Van Dyke and based on the novel of the same name by Dashiell Hammett, who apparently took inspiration for the central relationship from his own stop-start love affair with playwright Lillian Hellman. The film's screenplay was written by Albert Hackett and Frances Goodrich, a married couple, and it really shows (in the best possible way)! In 1934, the film was nominated for the Academy Award for Best Picture and features one of Hollywood's most sought-after dog divas, Skippy, who also appeared in the screwball classics Bringing Up Baby and The Awful Truth. Tonight we'll be mixing a cocktail for Nick, played by William Powell and wrapping up a silk dressing gown for Nora, played by Myrna Loy. Follow Don't You Want Me on Twitter @DYWMpodcast, Instagram @dywmpodcast and Facebook @DYWMpodcast  Recorded in November 2021. Edited by Rich Nelson Additional material written by Catrin Lowe  Theme music by Paul Abbott (on Twitter @Pablovich) Design by NOAKE (on Instagram @n_o_a_k_e) Rich can be found on Twitter @Fantana275 Cat can be found on Twitter @KittyCostanza -------------------------------------------------------------------------------------------------- For regular updates on future episodes of the podcast, guest appearances and events, subscribe to our monthly newsletter here https://www.getrevue.co/profile/dywmpodcast 

The bros find out that every time a bell rings, an angel gets its wings, in this new episode about the 1946 film, It's a Wonderful Life. Written by Frances Goodrich, Albert Hackett, and Frank Capra and Directed by Frank Capra. Instagram: https://www.instagram.com/thefilmbrospodcast/   The bros Letterboxd's: @_isaiahlucas @lilabey @NickGowinPlaces

Chris and Taylor review the 1946 Christmas family fantasy drama film "It's A Wonderful Life" written by Frances Goodrich, Albert Hackett and Frank Capra with Capra directing. Based on the short story "The Greatest Gift" by Philip Van Doren Stern, when George Bailey, a man who has given up his own personal dreams to help others in his community, comes upon hard times and considers suicide, a guardian angel teaches him the value of his life. The film stars James Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, Henry Travers, Beulah Bondi, Frank Faylen and Ward Bond.

In which the Mister and the Monsters join me in reviewing IT'S A WONDERFUL LIFE (1946), based on a story by Philip Van Doren Stern, screenplay by Frances Goodrich, Albert Hackett, Jo Swerling, Michael Wilson and Frank Capra (who also directs): the story follows the life of George Baily (James Stewart), a long time resident of quaint Bedford Falls, who's only dream in life has been to shake the dusty of his crummy little hometown and see the world. As is prone to happen, those plans get put on the backburner, over and over and culm inate in a night of crisis when George contemplates a decision that will forever change things. Will there be anyone to save him, a person who's saved Bedford Falls and its citizens over and over. Donna Reed, Lionel Barrymore, Henry Travers, Thomas Mitchell, Todd Karns, Beulah Bondi are just some of the fine actors behind the production. The film is currently streaming on Amazon Prime in a black and white and colorized version. Please note there are SPOILERS in this review. Opening into music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://anchor.fm/jokagoge/support

Watch this entire presentation Subscribe to Rosanne’s Channel and receive notice of each new video!   Transcript: In this case, Frank Capra took a lot of credit for this film, It’s A Wonderful Life. It plays in the United States often, It’s a Christmas film. You can see Frank Capra’s name in big red letters … Continue reading "17 Albert Hackett & Frances Goodrich from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute)" Related posts: 02 About Dr. Rosanne Welch from Why Researching Screenwriters (has Always) Mattered – Dr. Rosanne Welch [Video] (1 minute 12 seconds) 12 Who Wrote What? from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 9 seconds) 16 Robert Riskin from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute)

In this very special Father’s Day episode of Adapt or Perish, we discuss Edward Streeter’s Father of the Bride! For this episode, we read and watched: Edward Streeter’s original 1949 novel. Father of the Bride, the 1950 movie directed by Vincente Minnelli, written by Frances Goodrich and Albert Hackett, and starring Spencer Tracy, Elizabeth Taylor, and Joan Bennett. Watch it on iTunes or Amazon. Father’s Little Dividend, the 1951 sequel, directed by Minnelli, written by Goodrich and Hackett, and starring Tracy, Taylor, and Bennett. Watch it on Amazon. Father of the Bride, the 1991 remake, directed by Charles Shyer, written by Shyer and Nancy Meyers, and starring Steve Martin, Diane Keaton, Kimberly Williams, and Martin Short. Watch it on iTunes or Amazon. Father of the Bride Part II, the remake’s 1995 sequel, also directed by Shyer, also also written by Shyer and Meyers, and also also also starring Martin, Keaton, Williams, and Short. Watch it on iTunes or Amazon. Footnotes: Writers Erma Bombeck and Dave Barry The Harvard Lampoon Mr. Hobbs Take a Vacation (1962) Spencer Tracy, Katharine Hepburn, and Desk Set The Baby Boom theatrical trailer Every Single Word Spoken by a Person of Color in Every Single Movie Directed by Nancy Meyers The pregnancy and birth podcasts Baby Doctor Mamas and Masculine Birth Ritual You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.

Barry Cameron 12/23/2018 Audio clip from It's A Wonderful Life. screenplay by Frances Goodrich, Albert Hackett and Frank Capra ; produced and directed by Frank Capra. It's a wonderful life. Hollywood, Calif. :Paramount Home Entertainment,

Barry Cameron 12/16/2018 Audio clip from It's A Wonderful Life. screenplay by Frances Goodrich, Albert Hackett and Frank Capra ; produced and directed by Frank Capra. (2009). It's a wonderful life. Hollywood, Calif. :Paramount Home Entertainment,

Barry Cameron 12/9/2018 Audio clip from It's A Wonderful Life. screenplay by Frances Goodrich, Albert Hackett and Frank Capra ; produced and directed by Frank Capra. (2009). It's a wonderful life. Hollywood, Calif. :Paramount Home Entertainment,

Barry Cameron 12/2/2018 Audio clip from It's A Wonderful Life. screenplay by Frances Goodrich, Albert Hackett and Frank Capra ; produced and directed by Frank Capra. (2009). It's a wonderful life. Hollywood, Calif. :Paramount Home Entertainment,

In this episode we discuss the 1948 film The Pirate. It stars Gene Kelly and Judy Garland and was directed by Vincente Minnelli. It was written by Albert Hackett and Frances Goodrich based on a play by SN Behrman.  In the first part of the podcast we introduce our guest for this episode, Andi Bozym, and give a little primer for MGM musicals of the era. We delve into the history between Gene Kelly and Judy Garland and what had lead them up to do this collaboration together.  At around the 34 minute mark, we give some additional thoughts to last episode's movie Blue Caprice. At around the 51 minute mark, we transition into our larger discussion about The Pirate.  The logo to the Down to Film podcast was created by Andi Bozym, you can find her work at: AndreaBozym.com Rate and review us in iTunes! Twitter: @DownToFilmPod Instagram: dtfilmpodcast  Email: dtfpodcast@yahoo.com

On this date in 1946, “It’s a Wonderful Life” was released in the United States. Here are some things you may not have known about the classic Christmas movie. It’s based on a story called “The Greatest Gift” by Philip Van Doren Stern, who wrote it in 1939. After failing to sell the story, he made it into a Christmas card and send copies to friends and family in 1943. One of these cards came to the attention of a producer at RKO Pictures, which bought the story intending to make it into a movie starring Cary Grant. RKO shelved the project after three unsuccessful screenplay attempts were made. Director Frank Capra read the story and saw its potential. His production company bought the rights and the three screenplays for $10,000. Capra worked with a team of writers, including Frances Goodrich, Albert Hackett, Jo Swerling and Dorothy Parker. The popular belief is that the role of George Bailey was all but written for Jimmy Stewart, however film historian Stephen Cox claims that Henry Fonda was also considered. The part of Mary was offered first to Jean Arthur, Olivia de Havilland and Ginger Rogers before it finally went to to Donna Reed. Vincent Price and Charles Bickford were considered for the part of the villainous Mr. Potter, who was eventually played by Lionel Barrymore. Filming took place largely at RKO’s studio in Culver City, California and the RKO movie ranch in Encino, California. The only filming locations that remain intact are the home that the Martini family buys in the film, and the gymnasium at Beverly Hills High School with its swimming pool under the gym floor. It’s widely believed that “It’s a Wonderful Life” was originally a box office flop and was dislike by critics. However, this isn’t entirely true. The film made $3.3 million dollars in 1947, placing it 26th among more than 400 films released late in 1946 and in 1947. The reviews were mixed, with Time magazine and Variety praising it, and the New York Times and New Yorker magazine panning it. It went on to be nominated for six Academy Awards, including Best Picture, Best Director for Capra and Best Actor for Stewart. It won an Oscar for technical achievement for a new method of simulating falling snow. It lost the Best Picture Oscar to “The Best Years of Our Lives.” The single event that made the film a Christmas classic didn’t happen until 24 years after it was released. In 1974, the company which owned the rights to the film didn’t properly renew the copyright. This allowed the film to be shown inexpensively on hundreds of local television stations. The film was believed to be in the public domain until 1993, when Republic Pictures proved that it still owned the film rights to the original short story, and because of that, to all derivative works, including “It’s a Wonderful Life.” The movie is now licensed to NBC, which shows it twice during the Christmas season, including on Christmas Eve. Our question: Which television villain was inspired by the character of Mr. Potter? Today is unofficially Cathode-Ray Tube Day, Games Day, and National Sangria Day. It’s the birthday of tire magnate Harvey Firestone, who was born in 1868; author Sandra Cisneros, who is 62; and actor Jonah Hill, who is 33. Because our topic happened before 1960, we’ll spin the wheel to pick a year at random. This week in 1968, the top song in the U.S. was “I Heard It Through the Grapevine” by Marvin Gaye. The No. 1 movie was “Oliver!,” while the novel “The Salzburg Connection” by Helen MacInnes topped the New York Times Bestsellers list. Weekly question What was the first broadcast network in the United States? Submit your answer at triviapeople.com/test and we’ll add the name of the person with the first correct answer to our winner’s wall … at triviapeople.com. We'll reveal the correct answer on Friday’s episode. Links Follow us on Twitter, Facebook or our website. Also, if you’re enjoying the show, please consider supporting it through Patreon.com Please rate the show on iTunes by clicking here. Sources https://en.wikipedia.org/wiki/It's_a_Wonderful_Life https://en.wikipedia.org/wiki/Mr._Potter https://en.wikipedia.org/wiki/Ginger_Rogers http://www.iamnotastalker.com/2009/12/22/the-martini-house-from-its-a-wonderful-life/ https://www.checkiday.com/12/20/2016 http://www.biography.com/people/groups/born-on-december-20 http://www.bobborst.com/popculture/numberonesongs/ https://en.wikipedia.org/wiki/List_of_1968_box_office_number-one_films_in_the_United_States https://en.wikipedia.org/wiki/The_New_York_Times_Fiction_Best_Sellers_of_1968 iOS: http://apple.co/1H2paH9 Android: http://bit.ly/2bQnk3m

Título original Seven Brides for Seven Brothers Año 1954 Duración 103 min. País Estados Unidos Estados Unidos Director Stanley Donen Guión Albert Hackett, Frances Goodrich, Dorothy Kingsley Música Adolph Deutsch & Saul Chaplin Fotografía George Folsey Reparto Howard Keel, Jane Powell, Jeff Richards, Tommy Rall, Russ Tamblyn, Marc Platt, Matt Mattox, Jacques d'Amboise, Julie Newmar, Virginia Gibson Productora Metro-Goldwyn-Mayer Género Musical. Comedia | Siglo XIX. Vida rural (Norteamérica). Familia. Comedia romántica Sinopsis Los hermanos Pontipee son siete rudos leñadores, todos solteros, que viven en una cabaña en las montañas. Su vida cambia radicalmente cuando Adam, el hermano mayor, encuentra novia en el pueblo y se la lleva a vivir a la cabaña. Los demás hermanos deciden, entonces, hacer lo mismo y van a la ciudad en busca de novia. Tan empeñados están en casarse que no dudan en secuestrar a siete chicas y se las llevan a vivir con ellos.

Bob Wilcox and Gerry Kowarsky review (1) THE DIARY OF ANNE FRANK, by Frances Goodrich, Albert Hackett, & Wendy Kesselman, at the New Jewish Theatre, (2) ANTIGONE, by Sophocles, at Upstream Theater, (3) AND THEN THERE WERE NONE, by Agatha Christie, at Stray Dog Theatre, (4) BONNIE AND CLYDE, by Ivan Menchell, Frank Wildhorn, & Don Black, at New Line Theatre, (5) SIDE SHOW, by Bill Russell & Henry Krieger, at Over Due Theatre Co., (6) STOP KISS, by Diane Son, at the Webster Univ. Conservatory, (7) NICE WORK IF YOU CAN GET IT, by George & Ira Gershwin & Joe DiPietro, at the Peabody Opera House, (8) ANON(YMOUS), by Naomi Iisuka, at Washington Univ., and (9) BUS STOP, by William Inge, at Saint Louis Univ.

The Lux Radio Theatre. June 12, 1944. CBS net. "Naughty Marietta". Sponsored by: Lux.  Nelson Eddy, Jeanette MacDonald, Cecil B. DeMille, Howard McNear, Jack Mather (doubles), Jay Novello (doubles), Verna Felton, Virginia Gregg (doubles), Charles Seel (doubles), Joseph Du Val (doubles), Ferdinand Munier, Norman Field, Cliff Clark, Betty Moran, Ann Tobin (doubles), Janet Scott, Dellie Ellis, Regina Wallace (doubles), Enrico Ricardi (choral master), Betty Stevens (chorus soloist), Clarence Badger (chorus), Henry Iblings (chorus), Earl Hunmaker (chorus), Louis Yaekel (chorus), George Gramlich (chorus), Tom Clarke (chorus), Dudley Kunnell (chorus), John Knobler (chorus), Devona Doxie (chorus), Georgia Stark (chorus), John Lee Mahin (screenwriter), Frances Goodrich (screenwriter), Albert Hackett (screenwriter), Victor Herbert (composer), Rida Johnson Young (book, lyrics), Janet Russell (commercial spokesman), Helen Andrews (commercial spokesman), Duane Thompson (commercial spokesman), Doris Singleton (commercial spokesman), John McIntire (commercial spokesman), Fred MacKaye (director), Sanford Barnett (adaptor), Charlie Forsyth (sound effects), John Milton Kennedy (announcer), Louis Silvers (music director).oldtimeradiodvd.com

MERRY CHRISTMASIn October of 1934, "Lux Radio Theater" debuted in New York on NBC's Blue radio network. Presenting audio versions of popular Broadway plays, the show failed to garner an audience and soon ran out of material. After switching networks to CBS and moving to Hollywood, Lux found its true market. The show began featuring adaptations of popular films, performed by as many of the original stars as possible. With an endless supply of hit films scripts and an audience of more than 40 million, Lux enjoyed a prosperous run until the curtain fell in 1956.THIS EPISODE:March 10, 1947. CBS network. "It's A Wonderful Life". Sponsored by: Lux Soap, Spry. Tired of his life on Earth, a man finds out what it's like never to have been born. Jimmy Stewart, Donna Reed, Victor Moore, William Keighley (host), John Milton Kennedy (announcer), Louis Silvers (music director), William Johnstone, John McIntire, Leo Cleary, Edwin Maxwell, Janet Scott, Noreen Gammill, Cliff Clark, Norma Jean Nilsson, Edward Marr, Norman Field, Franklyn Parker, Ann Carter, Charles Seel, Doris Singleton (commercial spokesman: as "Libby"), Susan Blanchard (intermission guest), Frances Goodrich (screenwriter), Albert Hackett (screenwriter), Jo Swerling (screenwriter), Frank Capra (screenwriter), Philip Van Doren (author), Fred MacKaye (director), Sanford Barnett (adaptor), Charlie Forsyth (sound effects). 1 hour.