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mudskipper

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Posts posted by mudskipper

  1.  

    Cinerama was invented by [Fred Waller|http://en.wikipedia.org/w/index.php?title=Fred_Waller&action=edit&redlink=1|Fred Waller (page does not exist)] and commercially developed by Waller and [Merian C. Cooper|http://en.wikipedia.org/wiki/Merian_C._Cooper|Merian C. Cooper].^[[citation needed|http://en.wikipedia.org/wiki/Wikipedia:Citation_needed|Wikipedia:Citation needed]]^ It was the outgrowth of many years of development. A forerunner was the triple-screen final sequence in the silent [Napoléon|http://en.wikipedia.org/wiki/Napol%C3%A9on_%281927_film%29|Napoléon (1927 film)] made in 1927 by [Abel Gance|http://en.wikipedia.org/wiki/Abel_Gance|Abel Gance]; Gance's classic was considered lost in the 1950s, however, known of only by hearsay, and Waller could not have actually seen it. Waller had earlier developed an 11-projector system called "Vitarama" at the Petroleum Industry exhibit in the [1939 New York World's Fair|http://en.wikipedia.org/wiki/1939_New_York_World%27s_Fair|1939 New York World's Fair]. A five-camera version, the Waller Gunnery Trainer, was used during the Second World War.

     

     

    The word "Cinerama" combines [cinema|http://en.wikipedia.org/wiki/Film|Film] with [panorama|http://en.wikipedia.org/wiki/Panorama|Panorama], the origin of all the "-orama" [neologisms|http://en.wikipedia.org/wiki/Neologism|Neologism] (the word "panorama" comes from the Greek words "pan", meaning all, and "orama", which translates into that which is seen, a sight, or a spectacle). It has been suggested that Cinerama could have been an intentional anagram of the word American; but an online posting by Dick Babish, describing the meeting at which it was named, says that this is "purely accidental, however delightful."^[[2]|http://en.wikipedia.org/wiki/Cinerama#cite_note-1]^

     

    The photographic system used three interlocked 35 mm cameras equipped with 27 mm lenses, approximately the focal length of the human eye. Each camera photographed one third of the picture shooting in a crisscross pattern.

  2. Sticking with Maureen O'Hara, here's one of her funny dialogues (I hope she reads this):

     

    1st Man (with Maureen on his lap): "Ah, by midnight you will forget your lover."

     

    2nd Man: "Aha! As soon as my back is turned, you are in the arms of another!"

     

    1st Man: "Who is he?"

     

    Maureen: "My husband."

     

    3rd Man: "Aha! The moment I turn my back, you are in the arms of another!"

     

    1st Man: "Who is he?"

     

    Maureen: "My lover."

     

    4th Man: "Ha! As soon as my back is turned, you are in the arms of another!"

     

    1st Man: "Who is he?"

     

    Maureen: "My fiance"

     

    Movie?...

  3. Bette Davis-Joan Crawford:

     

    A little investigation shows that these two cinematic giants were reduced to duking it out over, what else, a man. Namely, the slightly less legendary, Franchot Tone. Bette starred alongside Franchot in the 1935 film Dangerous, a part for which she won her first Academy Award. Tone played a handsome architect to Bette’s alcoholic actress and she was soon smitten.

     

    Said Bette ” I fell in love with Franchot, professionally and privately. Everything about him reflected his elegance, from his name to his manners.” It’s a pity this debonair actor inspired decades of ****-for-tat cat fighting.

     

     

    Joan Crawford, at that time, was MGM’s reigning sex symbol. Newly divorced and on the prowl, she invited Tone over for dinner, only to greet him naked, in her solarium. Whether it was the nudity or the possibility of free tanning sessions, Franchot was hooked and Joan made sure Bette knew about it.

     

     

    Davis admitted ” He was madly in love with her. They met each day for lunch…he would return to the set, his face covered in lipstick…He was honoured this great star was in love with him. I was jealous of course.”

     

     

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