never been filmed, and it has never had a major revival in New York or a major professional production in London, though there have been regional productions in the States and in the UK. From the start, there was a feeling that it never ...
Author: Dominic McHugh
Publisher: Oxford University Press
In the 1950s, Meredith Willson's The Music Man became the third longest running musical after My Fair Lady and The Sound of Music a considerable achievement in a decade that saw the premieres of other popular works by Rodgers and Hammerstein and Lerner and Loewe, not to mention Frank Loesser's Guys and Dolls and Bernstein and Sondheim's West Side Story. The Music Man remains a popular choice for productions and has been parodied or quoted on television shows ranging from Family Guy to Grace and Frankie. Though Willson is best remembered for The Music Man, there is a great deal more to his career as a composer and lyricist. In The Big Parade, author Dominic McHugh uses newly uncovered letters, manuscripts, and production files to reveal Willson's unusual combination of experiences in his pre-Broadway career that led him to compose The Music Man at the age of 55. McHugh also gives an in depth look at the reception of The Music Man and examines the strengths and weaknesses of Willson's other three musicals, with his sustained commitment to innovation and novelty. The Big Parade is packed with new revelations about the processes involved in writing these works, as well as the trials and tribulations of working in the commercial theatre.
“Big Advance Ticket Sale for 'Wings'.” Moving Picture World, Sept. 10, 1927. “Biggest Money-Makers Among Past Memoirs.” New York Times, Sept. 24, 1922. The Big Parade Advertisement in Chicago Daily Tribune ad, Jan. 16, 1926.
Author: Ryan Copping
Publisher: Springer Nature
This book recounts the reception of selected films about the Great War released between 1918 and 1938 in the USA and Great Britain. It discusses the role that popular cinema played in forming and reflecting public opinion about the War and its political and cultural aftermath in both countries. Although the centenary has produced a wide number of studies on the memorialisation of the Great War in Britain and to a lesser degree the USA, none of them focused on audience reception in relation to the Anglo-American ‘circulatory system’ of Trans-Atlantic culture.
CAPTAIN FLAG G. The move from pastoral to blasted in The Big Parade marked a shift from the sacred soil myth of The Lost Battalion and The Four Horsemen of the Apocalypse. The shift is not unequivocal and both The Big Parade and the ...
Author: Michael Hammond
Publisher: SUNY Press
Assesses how America’s film industry remembered World War I during the interwar period. This is the definitive account of how America’s film industry remembered and reimagined World War I from the Armistice in 1918 to the outbreak of World War II in 1939. Based on detailed archival research, Michael Hammond shows how the war and the sociocultural changes it brought made their way into cinematic stories and images. He traces the development of the war’s memory in films dealing with combat on the ground and in the air, the role of women behind the lines, returning veterans, and through the social problem and horror genres. Hammond first examines movies that dealt directly with the war and the men and women who experienced it. He then turns to the consequences of the war as they played out across a range of films, some only tangentially related to the conflict itself. Hammond finds that the Great War acted as a storehouse of motifs and tropes drawn upon in the service of an industry actively seeking to deliver clearly told, entertaining stories to paying audiences. Films analyzed include The Big Parade, Grand Hotel, Hell’s Angels, The Black Cat, and Wings. Drawing on production records, set designs, personal accounts, and the advertising and reception of key films, the book offers unique insight into a cinematic remembering that was a product of the studio system as it emerged as a global entertainment industry. “Hammond’s intelligent and insightful account of the formation of cinematic treatments of the Great War in America constitutes a major addition to the critical literature on film. It acts as a prism through which to see refracted multiple themes central to the social and cultural history of the interwar years.” — Jay Winter, author of War beyond Words: Languages of Memory from the Great War to the Present
A convenient summary of the story line of The Big Parade may be found in Thomas, Thalberg, pp. 332–35. A print of The Big Parade is in the Museum of Modern Art, New York City (hereafter cited as MOMA). Frederick James Smith, “Making The ...
Author: John E. O'Connor
Publisher: Bloomsbury Publishing
In this pioneering work, sixteen historians analyse individual films for deeper insight into US institutions, values and lifestyles. Linking all of the essays is the belief that film holds much of value for the historian seeking to understand and interpret American history and culture. This title will be equally valuable for students and scholars in history using film for analysis as well as film students and scholars exploring the way social and historical circumstances are reflected and represented in film.
critics blamed not the Stallings version so much as the flawed idea of translating the novel into a proscenium stage play . In terms of cinematic history , The Big Parade ( 1925 ) , a writing collaboration of Stallings and Harry Behn ...
Author: Laurence Stallings
Publisher: Univ of South Carolina Press
Richard Plume is a U.S. Marine whose combat injuries ultimately cost him a leg and much faith in his government and society. Carefully structured to emphasize the immediacy of problems faced by its players, the novel relegates combat scenes to flashbacks and centers instead on the struggles Richard faces as he tries to carve out a humble but honest existence in postwar Washington, D.C., for his wife, Esme, and son, Dickie.
They were attempts to say that the War was not only glory and patriotism and high idealistic self-sacrifice. . . . In its original intent Stallings' irony and bitterness, notably in The Big Parade, cut even deeper than that.
Author: Lea Jacobs
Publisher: Univ of California Press
Seeking to characterise the radical shifts in taste that changed American life in the Jazz Age, Jacob documents the fims and film genres that were considered old-fashioned, as well as those considered more innovative, and looks closely at the work of Erich von Stroheim, Charlie Chaplin, Ernst Lubitsch, Monta Bell, and others.
On the other side of the studio ledger, The Big Parade's long-term beneficiaries would include its director. Although King Vidor later admitted that he had unwisely sold his percentage of the picture back to MGM, that picture's success ...
Author: Steven Bingen
Publisher: Rowman & Littlefield
Category: Performing Arts
Movies don’t exist in a vacuum. Each MGM movie is a tiny piece of a large, colorful (although often black & white) quilt, with threads tying it into all of the rest of that studio’s product, going forward, yes, but also backwards, and horizontally and three dimensionally across its entire landscape. Not necessarily a “best of” compilation, this book discusses the films that for one reason or another (and not all of them good ones) changed the trajectory of MGM and the film industry in general, from the revolutionary use of “Cinerama” in 1962’s How the West Was Won to Director Alfred Hitchcock’s near extortion of the profits from the 1959 hit thriller North by Northwest. And there aere the studio’s on-screen self-shoutouts to its own past, or stars, in films like Party Girl (1958), the That’s Entertainment series, Garbo Talks (1984) Rain Man (1955) and De-Lovely (2004), or the studio’s acquisition of other successful franchises such as James Bond. But fear not, what we consider MGM’s classic films all get their due here, often with a touch of irony or fascinating anecdote. Singin in the Rain (1952), for example, was in its day neither a financial blockbuster nor crtitically acclaimed but rather an excuse the studio to reuse some old songs which the studio already owned. TheWizard of Oz (1939) cost almost as much to make as Gone With the Wind (also 1939) took ten years to recoup its costs. But still, the MGM mystique endures. Like the popular Netflix series “The Movies that Made Us,” this is a fascinating look behind the scenes of the greatest—and at times notorious—films ever made.
Author: Leslie Midkiff DeBauchePublish On: 1997-05-01
In The Big Parade, Jim is swept away by a parade and stirred by its martial music. In What Price Glory? Quirt and F lagg are career soldiers fighting for a living; in Wings John wants to fly planes. Accounting for a change of tone in ...
Author: Leslie Midkiff DeBauche
Publisher: Univ of Wisconsin Press
Category: Performing Arts
Mixing film history with social history, Reel Patriotism examines the role played by the American film industry during World War I and the effects of the industry’s pragmatic patriotism in the decade following the war. Looking at such films as Joan the Woman and Wings and at the war-time activities of Mary Pickford and Charlie Chaplin, film distributors, including George Kleine, and the National Association of the Motion Picture Industry, this book shows how heavily publicized gestures of patriotism benefited the reputation and profits of the movie business. Leslie Midkiff DeBauche shows how the United States government’s need to garner public support for the war, conserve food, raise money, and enlist soldiers was met by the film industry. Throughout the nineteen months of American involvement in World War I, film studios supported the war effort through the production of short instructional films, public speaking activities of movie stars, the civic forum provided by movie theaters, and the National Association of the Motion Picture Industry’s provision of administrative personnel to work directly with government agencies. While feature films about the war itself never dominated the release schedules of film distributors, they did become a staple film industry offering throughout the late 1910s and 1920s. The film industry had much to gain, DeBauche demonstrates, from working closely with the U.S. government. Though the war posed a direct challenge to the conduct of business as usual, the industry successfully weathered the war years. After the war, film producers, distributors, and exhibitors were able to capitalize on the good will of the movie-goer and the government that the industry’s war work created. It provided a buffer against national censorship when movie stars became embroiled in scandal, and it served as a selling point in the 1920s when major film companies began to trade their stock on Wall Street.
individuality has become the defining feature of many Chen's films. Chen's next production, The Big Parade (Da yuebing, 1986), extends the thematic concerns and artistic vision from his earlier works, but approaches these problematics ...
Author: Ying Xiao
Publisher: Univ. Press of Mississippi
Category: Social Science
Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with the first book on the sound, languages, scenery, media, and culture in post-Socialist China. In this study, Ying Xiao explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock 'n' roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. Xiao examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. China in the Mix offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world. Xiao offers an innovative new conception of Chinese film and media and their audiovisual registers in the historiographical frame of China amid the global landscape.
Following the precedent of The Birth ofa Nation revival the year before, M—G—M decided to first try out its new version of The Big Parade in the San Francisco Bay Area. The city chosen for this special premiere, however, ...
Author: William M. Drew
Publisher: Scarecrow Press
Category: Performing Arts
This book details the fate of an entire art form—the silent cinema—in the United States during the 1930s and how it managed to survive the onslaught of sound.