Adapted and produced by Nunnally Johnson, directed by Jean Negulesco, the film starred Claudette Colbert in the lead role. The New York Times reviewer said, "It will shock you, disturb you, tear your heart out. But it will fill you fully with a great respect for a heroic soul."
The film is now in the public domain and so is available to watch in its entirety online at no charge"Frankly, my dear, I don't give a damn." is a line from the 1939 film Gone with the Wind starring Clark Gable and Vivien Leigh.
It was spoken by Gable, as Rhett Butler, in his last words to Scarlett O'Hara. It occurs at the end of the film when Scarlett asks Rhett, "Where shall I go? What shall I do?" if he leaves her. The line is memorable not only because it contains profanity (which was generally not allowed in films of that time period), but because it demonstrates that Rhett has finally given up on Scarlett and no longer cares what happens to her.
This quotation was voted the number one movie line of all time by the American Film Institute 2005.
In the novel Gone with the Wind, Rhett does not say "Frankly," but simply "My dear, I don't give a damn." The context is also different; he is speaking quietly to Scarlett in a room, not storming dramatically out of the house.
Prior to the film's release, censors objected to the use of the word "damn" in the film, a word that had been prohibited by the 1930 Motion Picture Association's Production Code that began to be enforced in July 1934. However, before 1930 the word "damn" had been relatively common in films.[2] Although legend persists that the Hays Office fined producer David O. Selznick $5,000 for using the word "damn," in fact the MPA board passed an amendment to the Production Code on November 1, 1939, a month and a half before the film's release, that forbade use of the words "hell" or "damn" except when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore … or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste." With that amendment, the Production Code Administration had no further objection to Rhett's closing line.
It is actually the second use of "damn" in the film. The term "damn Yankees" is heard in the parlor scene at Twelve Oaks. -Wikipedia
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In 1991, Out of the Past was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant."
The film is considered by film historians to be a superb example of film noir, due to its convoluted, dreamlike storyline and its chiaroscuro cinematography (cinematographer Nicholas Musuraca also shot Tourneur's Cat People).
Out of the Past was remade unofficially as Città violenta (1970) with Charles Bronson and officially as Against All Odds (1984) with Jeff Bridges, and Jane Greer as the mother of her original character in Out of the Past. -Wikipedia
The 1937 film follows the original novel faithfully, except for some musical interludes deliberately added to give Paul Robeson a chance to sing. The more famous 1950 Technicolor version severely alters the tale to make Allan Quatermain into a romantic hero who falls in love with the heroine, whereas in the original film Cedric Hardwicke played him as a professorial type completely uninterested in romance. -Wikipedia
The film was a critical and commercial success, and proved to be a major star-making vehicle for Dorothy Dandridge, who portrayed the title character. Carmen Jones won the 1955 Golden Globe Award for Best Motion Picture - Musical or Comedy, and was nominated for two Academy Awards. Dandridge, nominated for the Academy Award for Best Actress, was the first African-American so honored. The film was also entered into the 1955 Cannes Film Festival.
In 1992, Carmen Jones was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Carmen: A Hip Hopera is a 2001 musical film produced for television by MTV and directed by Robert Townsend. The film stars Beyoncé Knowles, Mos Def, Rah Digga, Wyclef Jean, Mekhi Phifer, Da Brat, Joy Bryant, Jermaine Dupri and Lil' Bow Wow. It is based upon Georges Bizet's opera, Carmen, set in Philadelphia and Los Angeles in modern times, and features a mostly original hip-hop/R&B score in place of Bizet's opera. The movie received mainly negative reviews. To date, it is the second major attempt at an African-American adaptation of the opera. -Wikipedia
These two movies as well as numerous other film adaptations were inspired by Carmen the French opéra comique by Georges Bizet. The libretto is by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée, first published in 1845, itself influenced by the narrative poem The Gypsies (1824) by Alexander Pushkin. The opera premiered at the Opéra-Comique of Paris on 3 March 1875, but its opening run was denounced by the majority of critics. -Wikipedia
Fred and Emily Hill (Henry Kendall, Joan Barry) are leading a boring life in London.
They receive a big inheritance by a rich relative and now they can realize all their dreams.
They leave for a cruise behaving as rich people....but this is the beginning of the end.
Richness makes they soon forget their love and family.
Director: Alfred Hitchcock
Producer: John Maxwell
TCManiacs: TCM Now Playing | 6:00 AM Rich and Strange: London spouses inherit a fortune and take a rough cruise to the Far East. Dir: Alfred Hitchcock
The Public Enemy, released that same year, contained one of cinema's most famous (and frequently parodied) scenes, in which James Cagney pushed a half grapefruit into Clarke's face, then went out and picked up Jean Harlow. The film was so popular that it ran 24 hours a day at a theatre in Times Square upon its initial release, and Clarke's ex-husband had the grapefruit scene timed and would frequently buy a ticket, enter the theatre to enjoy that sequence, then leave the theatre.
She may be best known for her leading role as, "Myra Deauville," in the 1931 pre-Code version of, Waterloo Bridge. In the film, she portrays a young American woman who is forced by circumstance into a life of prostitution in World War I London. Both the film and Clarke's performance were well received by the critics.
She also appeared in the modest pre-code Universal film Night World (1932), with Lew Ayres, Boris Karloff, and Hedda Hopper.
By the mid-1930s though, Clarke was no longer a leading lady and was only featured in small or bit parts through the 1960s.
Mae Clarke was featured today on TCM in three films,
The plot concerns the love affair between a Victorian gentleman and a woman who has been jilted by a French officer, scandalizing the "polite society" of Lyme Regis.
In the original book, the author is very much present - constantly addressing the reader directly and commenting on his characters, and on Victorian society in general, from his Twentieth-century perspective. A direct adaptation would have required a continual voice over.
Instead, the film creates the effect of the 19th Century society looked at from a 20th Century perspective by using the literary device or conceit, story within a story, in which one story is told during the action of another story. Mise en abyme is the French term for a similar literary device.
The 19th Century Victorian story is a film being shot in the present and the actors portraying the two Victorian characters having a love affair in their actual life, with the film shifting constantly between the two centuries. And though the actors are not bound by Victorian mores in their actual present-day lives, their affair still presents hard dilemmas since each is in a relationship to somebody else.
Also, instead of trying to create a literal translation of the novel's alternate endings, Pinter's screenplay adopted a more cinematic approach by having the characters' story ends one way, the actors' another.
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