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Winner within the 2002 AAUP booklet, Jacket, and magazine festival for excellence in layout within the classification of Scholarly Illustrated. Reyner Banham (1922-88) was once essentially the most influential writers on structure, layout, and pop culture from the mid-1950s to the overdue Nineteen Eighties. expert in mechanical engineering and paintings heritage, he was once confident that expertise was once making society not just extra interesting yet extra democratic.
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Additional resources for Hollywood Stories
In July, Schaefer’s successor, Charles Koerner, ordered the Mercury Theatre staff off the RKO lot and pulled the plug on the floundering It’s All True project, effectively sacking Welles from RKO in the process. That same month, the Koerner regime, lacking any confidence in The Magnificent Ambersons, opened it without fanfare in two theaters in Los Angeles, on a double bill with the Lupe Velez comedy Mexican Spitfire Sees a Ghost—an even more incongruous pairing than the Dorothy Lamour one. After playing at a handful of movie houses around the country, Welles’s picture died a quick box-office death.
As George faces a life of reduced circumstances in a city where the Amberson name no longer carries any weight, he finally realizes how wrong he was to keep his mother and Eugene apart. Then, while out walking, he suffers a fateful injury when struck by, of all things, an automobile; Lucy and Eugene go to visit him in the hospital, and at last, George and Eugene, both sadder but wiser, bury the hatchet. Welles’s cast, pictured mucking around convivially in the behind-the-scenes stills that survive, was an appealingly odd mix of ace Mercury Theatre regulars (Cotten, Moorehead, and Collins, all of whom give the performances of their careers) and left-field choices, particularly where the Ambersons themselves were concerned.
But it never happened—he couldn’t get the rights,” Bogdanovich says. Both Bogdanovich and Jaglom pulled whatever strings they could to get various vaults checked for missing Ambersons footage. “Every time I had something to do with Desilu, which was still Desilu then, and then Paramount, I would ask,” says Bogdanovich. The closest he ever got was when he found a cutting continuity—a screenplay-style transcription on paper of what appears on the screen—for the 132-minute version that Wise sent to Brazil on March 12, 1942.