Résultats Éditeur "Charles River Editors" dans Divertissement et célébrités

A lot of ink has been spilled covering the lives of history's most influential figures, but how much of the forest is lost for the trees? In Charles River Editors' American Legends series, listeners can get caught up to speed on the lives of America's most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. At the end of the 20th century, the American Film Institute ranked Gregory Peck 12th in its list of best actors, and it's not hard to see why.

A lot of ink has been spilled covering the lives of history's most influential figures, but how much of the forest is lost for the trees? In Charles River Editors' American Legends series, listeners can get caught up to speed on the lives of America's most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. In 1969, things were looking up for one of Hollywood's most marketable actresses.

The leading men of the 1940s and ‘50s ably represented the visual and cultural expectations of those decades in their iconic films. Some were handsome and glib with quasi-classical dialogue, some could sing, and a few could dance, while others brought an imposing athletic presence to thrillers, westerns, and urban crime dramas.

Despite a general dearth of African American names rising to musical prominence during the years of Reconstruction, Black talent existed in good measure for both popular and classical genres. And among the most notable musicians celebrated in the present day is composer Scott Joplin, who in his day earned the moniker “King of Ragtime”.

When the American Film Institute assembled its top 100 actors of all time at the close of the 20th century, Jimmy Stewart ranked third, behind only Humphrey Bogart and Cary Grant. There is a certain inevitability to these three actors ranking at the top of the list; after all, they were the dominant faces of Hollywood during the height of the era known as classical Hollywood cinema, a time before the onset of television when the movies still enjoyed relatively uncontested supremacy over American entertainment.

When people think of musicals, two of the first names that immediately spring to mind are Gene Kelly and Fred Astaire, two giants of one of Hollywood's most distinctive genres. Without question, both men played an instrumental role in popularizing and sustaining the musical from the 1930s through the 1950s, the final decades of Hollywood's Golden Age. Although they did collaborate on two occasions, in many ways Gene Kelly's rise to popularity in the 1940s amounted to a changing of the guard.

Virtually all famous actors are regaled by the public, but even still, Fred Astaire occupies a privileged position in American pop culture. The specific films in which Astaire acted may not be especially famous in their own right - most people likely cannot recall the title of Top Hat (1935), his most decorated film - but Astaire's dancing prowess invariably creates a lasting impact on viewers.

In the opening pages of his seminal book-length study of Alfred Hitchcock, Hitchcock's Films (1965), Robin Wood famously asked, "Why Should We Take Hitchcock Seriously?" Wood then proceeded to offer a detailed examination of Hitchcock's career to that point, arguing that the Master of Suspense belonged among the ranks of the preeminent directors in Hollywood, and that his films were among the most important in American culture.

In the middle of the 20th century, there was perhaps no leading man as famous and popular as Rock Hudson, who would remain a star over the course of four decades. Today, however, Rock Hudson might be better known for his personal life. Acting in a more conservative era, Hudson struggled to keep his homosexuality out of the news, for fear it would destroy his career, even though many of his Hollywood contemporaries were aware of it.

This audiobook analyzes the themes and progression of the composers' most famous works, comparing and contrasting them to each other and other composers' great works.

Andy Kaufman never liked to call himself a comedian, so it's a testament to his skills and routines that he is nonetheless considered one of the late 20th century's most famous comedians. In fact, Kaufman's eccentric style and theatrics made him one of the most unique performers of his era, whether it was doing a song and dance routine or staying in character to the extent that nobody could tell whether he was being himself or not.

By the turn of the 20th century, American entertainment was still preoccupied with European-style operetta, as embodied in the works of cellist-composer Victor Herbert. Traditional dance forms moved from European stories to the American prairie in Oklahoma by the late 1940s, and what was once the property of Bavarian princes became the singing standards of cowboys riding through the corn fields in "Oh What a Beautiful Morning" and "Out of My Dreams".

Hollywood has never lacked leading men who could captivate viewers with dramatic performances that depict them as suave romantics or dashing heroes, especially during the Golden Age of Hollywood, when stars like Humphrey Bogart, Clark Gable, and Cary Grant graced screens. But in the mid-20th century, one of the most popular stars was a man who’s been frequently overlooked.

Exhibitionism and narcissism coupled with talent are not the sole property of modern entertainment, as some might suppose. From the beginnings of American theater and film, various personality types prone to self-intoxication by the status of their own careers have acted-out at will in their public lives. For them, there is no barrier between the professional and the private.

In terms of original choreography, it was the age of Jerome Robbins that marked the first real departure from traditional dance on stage and in film. Only 10 years Robbins’ junior, Robert Louis Fosse, better known as Bob Fosse, followed his colleague’s example by mixing daring new jazz forms with virtually every traditional and popular genre to produce previously unseen modes of dance expression on Broadway and in film. Fosse forever changed the way the modern audience viewed dance on stage and film.

The “Golden Age” of American film that began in the pre-World War II years has never truly ended, moving from its early connection with “film noir” to the epics of the 1960s and beyond. Similarly, movie stars still enjoy a degree of exoticism they have possessed since the days of silent film. However, in the modern day, the screen actor is not so narrowly constrained by public image as to prevent the leading of a double life, once impermissible for powerful studio heads.

Patty, LaVerne, and Maxene Andrews created their “unique sound” in part through the development of a “very bright harmonic sense,” first achieved by the older sister, LaVerne. The trio mastered a virtuosic use of close, intricate harmonies, coupled with a precise and a seemingly telepathic rhythmic sense that could be honed for performance in a short period of rehearsal time. These qualities were enveloped in a timbral sheen reminiscent of multiple trumpets.

Despite her distinction and other more notable accomplishments, many people today are not familiar with the groundbreaking actress Dorothy Dandridge, even though she was among the most charismatic and beautiful actresses of the era. Her alluring nightclub acts set pulses pounding across the globe, and she was Hollywood’s first black leading actress. Sadly, all of it came at a high price.

He was a pioneering film director who had 518 films to his credit. His work spanned the silent and sound eras. Most of his films were completed in a span of 15 years. But today he is known only for one of his films, one considered by historians to be a landmark in cinema as well as the most controversial ever made. He could not escape the controversy of this one film before he died in relative obscurity, his contributions to the motion picture industry forever marred.

In the early 20th century, Germany's most renowned film directors were pioneering the genre known as "expressionism", and within it, Fritz Lang was known as the "Master of Darkness". Together with his eventual wife Thea von Harbou, Lang wrote a number of acclaimed movies. Some of his well-known films include Dr. Mabuse the Gambler (1922), Die Nibelungen (1924), Metropolis (1927), and Woman in the Moon (1929).