'I Cover The Waterfront' (1933)
Jul 29, 2017 23:40:56 GMT
spiderwort, manfromplanetx, and 1 more like this
Post by petrolino on Jul 29, 2017 23:40:56 GMT
The action drama 'I Cover The Waterfront' is based on a book by Max Miller. Investigative reporter Joe Miller (Ben Lyon) works for the San Diego Standard. Miller responds to a report of something fishy going on at the beach that could be connected to a waterfront smuggling operation he's desperate to crack wide open. His targets are dangerous but Miller has a ploy to use fisherman's daughter Julie Kirk (Claudette Colbert) as bait.
'I Cover The Waterfront' is an exciting thriller about smugglers working off the Californian coast. Ben Lyon's quite polite as a cynical reporter with a passion for short-skirted floozies; I can imagine rugged Californian action man Joel McCrea cast in the role of Miller but Lyon's work is enjoyable. Claudette Colbert is excellent as exhibitionist mermaid Julie Kirk; in one scene she's bound to a torture rack, an exciting moment like Fay Wray's diving bell disaster in the same year's 'Below The Sea' (1933). Ernest Torrence and Maurice Black are flat-out mean and seriously imposing as the fishermen suspected of smuggling and human trafficking.
There are some thrilling set-plays launched by director James Cruze including a shark sequence that's said to have inspired Colbert fan Steven Spielberg when he was making 'Jaws' (1975). Cruze deals head-on with voyeurism and media sensationalism in this gripping crime picture.
'The Unique And Personal Experiences Of A Newspaper Reporter Covering A Pacific Waterfront'
'I Cover The Waterfront' is an exciting thriller about smugglers working off the Californian coast. Ben Lyon's quite polite as a cynical reporter with a passion for short-skirted floozies; I can imagine rugged Californian action man Joel McCrea cast in the role of Miller but Lyon's work is enjoyable. Claudette Colbert is excellent as exhibitionist mermaid Julie Kirk; in one scene she's bound to a torture rack, an exciting moment like Fay Wray's diving bell disaster in the same year's 'Below The Sea' (1933). Ernest Torrence and Maurice Black are flat-out mean and seriously imposing as the fishermen suspected of smuggling and human trafficking.
King Kong (1933) :
Four Frightened People (1934) :
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Four Frightened People (1934) :
There are some thrilling set-plays launched by director James Cruze including a shark sequence that's said to have inspired Colbert fan Steven Spielberg when he was making 'Jaws' (1975). Cruze deals head-on with voyeurism and media sensationalism in this gripping crime picture.
'An Oscar that Bette Davis won for her role in the 1938 film Jezebel sold for $578,000 at the auction house Christie's. Christie's said in a news release that anonymous telephone bidder on Thursday bought the golden statuette, which was valued between $150,000 and $200,000 before the sale. But Variety columnist Army Archerd reported today that the bidder was actually Steven Spielberg, and that the director plans to present the award to the Academy of Motion Picture Arts & Sciences, as he did when he bought Clark Gable's Oscar for It Happened One Night for $607,500.'
- ABC News Report
"Claudette Colbert is on the orange one I used in the Raconteurs and White Stripes. Rita Hayworth is on the white one you see me carrying around in the Great Northern Lights DVD. The white and gold one I use in the Dead Weather has Veronica Lake on the back. So I’ve got a brunette, a redhead, and a blonde—one for each band. An incredible tattoo artist in Cincinnati, Ohio, named Kore Flatmo did the work for me. I saw the portraits he had done tattooing, and I bought him a really nice wood-burning tool to burn those images into the backs of my guitars."
- Jack White, Guitar Player
'I Cover The Waterfront' - Peggy Lee & The Dave Barbour Quartet
Claudette Colbert
"Claudette Colbert was born Lily Claudette Chauchoin on Sept. 13, 1903, in Paris. But she moved to America when she was 6, was educated at Washington Irving High School and the Arts Student League in New York, and no trace of French accent or pretensions remained. She hoped to become a fashion designer. Of course her extreme attractiveness led easily enough to opportunities on the New York stage; she made her debut in 1923, and like many a beauty before and after her, played ingenue roles. The vehicle of her debut was "The Wild Westcotts." She made her film debut in 1927, in the silent "For the Love of Mike," impressing no one, including the director, Frank Capra; he didn't impress her either."
- Stephen Hunter, The Baltimore Sun
"Claudette Colbert brought a new kind of tongue-in-cheek vivacity to the sound cinema which sustained her as a major movie star for two decades. Her unique combination of physical assets--sleek appearance, trim figure, sparkling heart-shaped face, and throaty, vibrant voice--boosted her to the top ranks of cinema popularity. No matter what the role, she was always a lady. With her innate reticence, charm and poise, she was unsuitable to portray anyone common or vulgar. Her mystique was as alluring as Marlene Dietrich's, but because she best fitted the stereotype of the practical-minded modern woman, she never attained the living legend status reserved for those who play, and seem to be, aloof godesses of physical and intellectual perfection."
- James Robert Parish, 'The Paramount Pretties'
"Claudette Colbert had a formidable technique that allowed her to play a wide range of roles. Notoriously, Colbert always wanted her left profile to be favored in two-shots, and this was a defining obsession. In the eighties, Dick reports that she ruined a Lincoln Center tribute to her work by vetoing any scenes where the right side of her face was visible (her crews called this right profile “the dark side of the moon.”) Once you know this fact about her, it’s impossible to forget it, so that watching her movies, even the best of them, becomes a running gag about trying to see that hated right profile. It really isn’t so different from her left side; Jean Arthur and Norma Shearer, just to name two examples, had more drastically different profiles than Colbert. But she was determined to look her best, and Colbert thought that she knew best about how to present her mobile, Kewpie doll face with its widely spaced eyes and apple cheeks: “I have been in the Claudette Colbert business longer than anybody,” she said, with the pride of an entrepreneur."
- Dan Callahan, 'Claudette Colbert : The Dark Side Of The Moon'
"Claudette's knowledge of art - combined with her appreciation of the subtleties of decor that probably eluded most movie actors, and a natural appreciation of beauty - formed her aesthetic sense. Even though Claudette had never read the major treatises on aesthetics, she would have understood the nature of beauty as the harmonization of disparate elements (light, color, balance etc.) that in lesser hands would have produced a patchwork quilt; but in those of an artist, an expertly woven coat of many colours."
- Bernard Dick, 'Claudette Colbert : She Walked In Beauty'
Marlene Dietrich & Claudette Colbert
Joan Crawford & Claudette Colbert
Claudette Colbert & Jean Harlow
Carole Lombard & Claudette Colbert
Jennifer Jones & Claudette Colbert
Veronica Lake, Claudette Colbert & Paulette Goddard
Myrna Loy, Claudette Colbert & Joan Bennett
'Claudette Colbert : A Perfect Star' in Vanity Fair
- ABC News Report
"Claudette Colbert is on the orange one I used in the Raconteurs and White Stripes. Rita Hayworth is on the white one you see me carrying around in the Great Northern Lights DVD. The white and gold one I use in the Dead Weather has Veronica Lake on the back. So I’ve got a brunette, a redhead, and a blonde—one for each band. An incredible tattoo artist in Cincinnati, Ohio, named Kore Flatmo did the work for me. I saw the portraits he had done tattooing, and I bought him a really nice wood-burning tool to burn those images into the backs of my guitars."
- Jack White, Guitar Player
'I Cover The Waterfront' - Peggy Lee & The Dave Barbour Quartet
Claudette Colbert
"Claudette Colbert was born Lily Claudette Chauchoin on Sept. 13, 1903, in Paris. But she moved to America when she was 6, was educated at Washington Irving High School and the Arts Student League in New York, and no trace of French accent or pretensions remained. She hoped to become a fashion designer. Of course her extreme attractiveness led easily enough to opportunities on the New York stage; she made her debut in 1923, and like many a beauty before and after her, played ingenue roles. The vehicle of her debut was "The Wild Westcotts." She made her film debut in 1927, in the silent "For the Love of Mike," impressing no one, including the director, Frank Capra; he didn't impress her either."
- Stephen Hunter, The Baltimore Sun
"Claudette Colbert brought a new kind of tongue-in-cheek vivacity to the sound cinema which sustained her as a major movie star for two decades. Her unique combination of physical assets--sleek appearance, trim figure, sparkling heart-shaped face, and throaty, vibrant voice--boosted her to the top ranks of cinema popularity. No matter what the role, she was always a lady. With her innate reticence, charm and poise, she was unsuitable to portray anyone common or vulgar. Her mystique was as alluring as Marlene Dietrich's, but because she best fitted the stereotype of the practical-minded modern woman, she never attained the living legend status reserved for those who play, and seem to be, aloof godesses of physical and intellectual perfection."
- James Robert Parish, 'The Paramount Pretties'
"Claudette Colbert had a formidable technique that allowed her to play a wide range of roles. Notoriously, Colbert always wanted her left profile to be favored in two-shots, and this was a defining obsession. In the eighties, Dick reports that she ruined a Lincoln Center tribute to her work by vetoing any scenes where the right side of her face was visible (her crews called this right profile “the dark side of the moon.”) Once you know this fact about her, it’s impossible to forget it, so that watching her movies, even the best of them, becomes a running gag about trying to see that hated right profile. It really isn’t so different from her left side; Jean Arthur and Norma Shearer, just to name two examples, had more drastically different profiles than Colbert. But she was determined to look her best, and Colbert thought that she knew best about how to present her mobile, Kewpie doll face with its widely spaced eyes and apple cheeks: “I have been in the Claudette Colbert business longer than anybody,” she said, with the pride of an entrepreneur."
- Dan Callahan, 'Claudette Colbert : The Dark Side Of The Moon'
"Claudette's knowledge of art - combined with her appreciation of the subtleties of decor that probably eluded most movie actors, and a natural appreciation of beauty - formed her aesthetic sense. Even though Claudette had never read the major treatises on aesthetics, she would have understood the nature of beauty as the harmonization of disparate elements (light, color, balance etc.) that in lesser hands would have produced a patchwork quilt; but in those of an artist, an expertly woven coat of many colours."
- Bernard Dick, 'Claudette Colbert : She Walked In Beauty'
Marlene Dietrich & Claudette Colbert
Joan Crawford & Claudette Colbert
Claudette Colbert & Jean Harlow
Carole Lombard & Claudette Colbert
Jennifer Jones & Claudette Colbert
Veronica Lake, Claudette Colbert & Paulette Goddard
Myrna Loy, Claudette Colbert & Joan Bennett
'Claudette Colbert : A Perfect Star' in Vanity Fair
