text:
2012-01-04 / Civics and Politics
Putnam's Criminals Fill Up County Jail; Revenue from Boarders Falls
Huge Shortfall Poses Issue for County Finances
An increase in the number of prisoners incarcerated at the Putnam Correctional Facility for local offenses cost county coffers more than $400,000 last year.
The full version of this story is available only to subscribers. Subscribe now to access to full versions of news stories in our archive of over 12,000 stories going back to 1999.


text:
Hidden Iran
12:00 – 12:30 p.m. Reception and Book Signing
12:30 – 1:00 p.m. Lunch
1:00 – 2:00 p.m. Meeting
Please note special time.
Hassan Rouhani
Hassan Rouhani, president of the Islamic Republic of Iran, discusses Iranian foreign policy.
Can Negotiations With Iran Succeed?
Broad-based international economic sanctions on Iran have significantly impaired its economy and brought the regime to the negotiating table, but the recently concluded interim nuclear agreement remains controversial among many members of Congress.
Iran's Nuclear Deal: Three Things to Know
Talks over Iran's nuclear program have concluded with a deal that will limit Iran's nuclear capabilities in exchange for relief from economic and financial sanctions. Before the sanctions are lifted, Iran must show that it has implemented agreed-upon restrictions, explains CFR Senior Fellow Philip H. Gordon.
Terms of Use: I understand that I may access this audio and/or video file solely for my personal use. Any other use of the file and its content, including display, distribution, reproduction, or alteration in any form for any purpose, whether commercial, non commercial, educational, or promotional, is expressly prohibited without the written permission of the copyright owner, the Council on Foreign Relations. For more information, write firstname.lastname@example.com.

subset: commoncrawl


text:
138-horsepower 2.0L I4 5-speed manual FWD
31180 mi | Sway bar link...right ball joint.. |
39680 mi | A rattling sound fixed by replacement of parts. |
93980 mi C $306 |
Left rear assist arm replaced. |
125000 mi US $1380 |
Shocks replaced, front and rear. I noticed nothing wrong. But the mechanic to whom I took the car advised within thirty minutes of dropping it off that they (the front only) were shot and needed to be replaced. |
17980 mi C $100 |
Left and right front stabilizer bar ushings replaced. |
18600 mi | Rear stabilizer bar bushings. Update: I need to go back again because they didn't fix the rear properly, as I still get a clunk from the rear right when I go over a bump sometimes. |
29740 mi C $900 |
Front Link Assembly replaced at 46,512km. The same part was previously replaced around 20,000km under warranty. |
57660 mi C $1 |
also repaired sway/replaced sway bars |
138-horsepower 2.0L I4 4-speed automatic FWD
62000 mi | replace sway bar and suspension |
15780 mi C $200 |
A wheel bearing was fixed under warranty. Brakes serviced. |
34720 mi | Noise in front end when changing direction |
46500 mi C $88 |
noise in rear of car every time you hit a bump. repaired bushing on arm |
76040 mi C $1300 |
arms and bushings |
117180 mi C $200 |
bushings |
7500 mi | Anti-sway bar rattled - tightened by dealer. |
67540 mi C $465 |
Replaced both front sway bar links. Replaced front passenger front lower ball joint. $460. |
620 mi | Thumping in rear end, was discovered to be right rear sway linkage. Manufacture defect, part to be ordered, mechanic took it off car. Now has no rear sway linkage said to be safe to drive without Update: was called by dealer told part not available for month. Decided to email corporate office and tell them that was unsatisfactory in our eyes. Next day dealership phones and say they have part go figure. |
21700 mi C $99 |
As mentioned in another repair, told dealer about a noise when turning recommended brake service. Did it same noise took it back needed new strut under warranty. Still paid 200 for a brake service not needed. |
56820 mi | Noticed a noise coming from the undercarriage whenever the car was in motion. Dealer inspected and found one of the links in the sway bar was "loose". Repair covered under extended warranty. |
56000 mi US $180 |
Noise from underneath the car at low speeds, sounding like a loose part. Diagnosed as sway bar link bushing worn out. It was replaced. Noise may have decreased but not eliminated. |
73160 mi C $100 |
Front left suspension link as dealer said |
138-horsepower 2.0L I4 5-speed manual FWD
32240 mi | Electronic Power Steering (EPS) light came on when I started the car in the morning. Had to drive to work with no power steering. For the afternoon drive back home, everything seemed fine. Brought car to dealer for service. Work was covere |
41100 mi | Steering rack replaced under warranty. EPS light came on in summer of 2013 and car lost power steering for a day. Ok next day but garage did software update. Happened again in December and dealer said steering rack to be replaced. |
52700 mi | Replaced power steering rack after recall. |
26040 mi | Had a front fender replaced due to a small collision. Noticed that the steering wheel was skewed several degrees after picking up car. Straightening and alignment performed by the dealer. Inner-shoulder front tire wear as a result. |
59520 mi C $240 |
Rear suspension knuckle (broken sleeve), |
19620 mi | Changed the shock absorber and stabilizer bar |
29760 mi | Link broken on both front wheel. |
35960 mi | Changed front right and front left top plate. |
41540 mi | Changed front left and front right link kit. |
44020 mi C $50 |
2 front top plate Shock absorber broken Shock absorber boots protector were loose |
57960 mi C $130 |
1x Link kit broken |
58900 mi C $130 |
Link kit broken. Replaced with a new aftermarket part. |
138-horsepower 2.0L I4 4-speed automatic FWD
26000 mi | power steering moter noise |
19500 mi | Dealer checked alingment, Said everything was ok didn't touch it. |
20000 mi | Dealer performed the electrical steering calibration again. (step required after alignment) and change steering settings (set it to soft turn). car was still pulling right. |
22000 mi | I did some alignment check on my own then I have the dealer bring the regional engineer. Explain the problem and took pictures, put old rear tires in the front and re-aling. No more pulling. |
22500 mi US $60 |
3rd party alingment found toe Ok but camber slightly different, loose everything and retightened, perfect 0.85º. Rear side, right wheel almost 2º. Loosen and readjusted but not completely OK. No way to adjust, aftermarket bar needed. |
21000 mi | Electric Power Steering. Safety recall for EPS failures. Power steering unit replaced multiple times but kept failing. Car kept at dealer. Loaner car provided. Manufacturer eventually reprogrammed software for new unit and flashed update. |
68000 mi | Front end noise. Can't remember the name of the part but they didn't have to cover it and did anyway because I reported noise before 60,000 |
95700 mi | Warranty Recall for momemtary low of power steering. Steering was tested on dealers computer and a computer reflash was done to the vehicles steering computer module. |
53940 mi | During transmission repair, tech noticed EPS/ESC light on. Determined steering column was faulty. Replaced column. |
8000 mi | Power steering failed. |
101640 mi C $700 |
Rear left wheel bearing driver outer tie-rod |
69700 mi US $360 |
Steering Flex Coupler Bushing worn - replaced. |
33000 mi | Damaged bushing in steering column repaired under warranty |
104000 mi US $1600 |
electronic power steering control unit went out. Intermittantly had issues with ESP and ESC lights coming on during driving |
14880 mi | power steering light came on and power steering failed; dealer repaired under warranty. |
8000 mi | I never received a recall notice. I ended up doing it on my own because I knew the vehicle wasn't riding right when it went over bumps so I brought it in and informed them of the recall. |
8104 mi US $42 |
Recall parts installed to front struts. Informed that squeak in hatch was not from hatch piston. Have to schedule a new appointment for car to go to bodyshop to diagnostic where squeak is coming from. |
620 mi | Car pulls to the right Same problem of pulling to the right |
1240 mi | Car was pulling to the right. As the 4th trip to dealer, service manager was involved. The right rear wheel needed realignment. Problem is fixed. |
6820 mi C $55 |
Same problem with car pulling to the right from date of purchase. It was repired in August 2010 after 4 trips to the dealer. Installed winter tires and problem returned. |
27240 mi C $150 |
The car still pulls to the right, even with the balancing and alignment just completed; in fact when we first drove the car off the lot we had the problem and after 4 trips to the service desk when balancing, alignments and rotating the tires did not work |
30000 mi | Power steering went out. First dealer only reflashed software. Failed again the next day. Second dealer replaced the steering column and bolt - safety lock. |
9000 mi | Allament of car ! not fixed this week!! |
1000 mi | Front drivers side suspension spring creaks when body moves Creak in the drivers side front end. Lubed the whole front end, replaced the drivers side strut twice, problem was resolved at this time by replacing the drivers side spring. |
47000 mi US $92 |
Power steering failed. Fixed by update to car computer software. |
60140 mi C $700 |
Suspension leeking |
68200 mi C $1000 |
leaking oil in the rear suspension |
Engine not specified
27000 mi US $70 |
There is a problem with suspension, eats up tires. |
29000 mi | Hyundai put torsion bars on the rear end. They did other things to the car it now drives wonderful. |
141-horsepower 2.0L I4 5-speed manual FWD
14000 mi | One of the rear sway bar fasteners came loose, resulted in rattling and clunking sounds from the rear of the car. Dealer re-torqued the bolt, everything seems fine now. |
141-horsepower 2.0L I4 4-speed automatic FWD
16120 mi | strut boot cover came loose |
92380 mi C $1220 |
took car in for safety inspection - failed bad tie rods and worn breaks (est. repair cost $1100) breaks passed after i requested to see ware. 1 week delay for parts 2hr repair. excessive noise right front - noise was present at time of safety inspection, dealer said could not hear noise. (i am a refrigeration Mech.) I know noise so i took the car to an independent garage. |
19700 mi | The steering column with steering angle sensor the dealer previously ordered arrived. They installed the parts. |
16740 mi | replace loose stabalizer bars |
26660 mi | replaced noisy/loose steering linkage under warranty |
34100 mi | failing steering linkage |
71300 mi | Leaking driver's side front strut, replaced under extended warranty |
76240 mi C $276 |
Sway bar end-links making noise. |
42000 mi | Electronic power steering failed. |
55300 mi | The car had a clunking sound coming from the steering column when turning the wheel either standing still or moving.Turned out to be a steering coupler that I believe there is a TSB for. |


text:
March 17
– Derek Werner reported that first-degree burglary occurred between March 8 and 17 at 332 Lee Avenue in Lebanon. An H&R 20-gauge shotgun and a Beeman .22 pellet gun with scope were reported stolen. The pellet gun, with an estimated value of $175, was recovered at Kwik Kash Pawn in Bardstown on March 27. The missing shotgun has an estimated value of $200.
April 8
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Click the question mark below to see where your account ID appears on your mailing label.
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text:
This steel candelabra from Black and Blum will attract some admiring glances. Each time you look at it, the organic design seems to be slightly different, inspired by the Fibonacci curve that is seen throughout nature. Despite the looped design, this is free standing and will make a wonderful centre piece. If two or more are purchased they can be interlinked to create a grand cluster. Please Note: It will hold 2 standard 22-24mm candles (not supplied). This candle holder has been designed for indoor use only.
Check stock and price


text:
Jun 28, 2014
India's tour match against Leicestershire has again been delayed by rain. Play began on Day Three of the match at Grace Road with Leicestershire opening their innings. Leicestershire are at 71 for one after 13 overs. Angus Robson is batting on 45 and Greg Smith is on 19. Matthew Boyce was dismissed for four. Lunch has been called on Day Three.
Pankaj Singh was the bowler who took the sole wicket. Leicestershire currently trail the Indians by 262 runs in the first session on Day Three. This is only a three-day match and the whole of Day Two was washed out by rain. Indians had declared their innings at 333 for four after Day One. Catch the live blog of the match here.
Shikhar Dhawan top-scored with 60 runs. He retired hurt. Cheteshwar Pujara scored 57 and Gautam Gambhir added 54 before both retired out. Ajinkya Rahane was not out on 47 and Rohit Sharma was also unbeaten on 43.
Brief scores:
India 333 for 4 decl. (Shikhar Dhawan 60, Gautam Gambhir 54, Cheteshwar Pujara 57) lead Leicestershire 71 for 1 (Angus Robson 45*) by 262 runs.


text:
Posted on 06/28/2005 10:45:07 AM PDT by Moose4
MEMPHIS, Tennessee (AP) -- Novelist and Civil War historian Shelby Foote, whose appearances on a PBS-TV documentary series helped America better understand one of the most defining periods of its past, has died, his family said Tuesday.
Foote's widow, Gwen, said her husband, who was 88, died Monday night.
(Excerpt) Read more at cnn.com ...
FYI - a true gentleman.
He was a great person. Loved to hear his soothing voice tell those stories like he was there.
Probably why he was not an academic. He and David McCullough brought history to the masses.
Foote was a great author and a great historian.
IMHO, the best books about the Civil War are:
1. The three-volume series "The Civil War" by Shelby Foote.
2. The three-volume series "Lee's Lieutenants" by Douglas Southhall Freeman.
3. The three-volume series about the Army of The Potomac written by Bruce Catton, that ended with "A Stillness at Appomatox."
I remember being awestruck hearing those words in the series.
How can someone write so eloquently?
Condolences to the family. Reading his trilogy now (1/3 thru book 2). He was thoroughly enjoyable on the Civil War series on PBS. RIP. A fan.
I just read your link. Thank you. I really enjoyed it.
Good interview of a very interesting and talented man. He accomplished much in his four score and "eight".
There is a wound in the soul of the south tonight... a great man of letters has passed...
Rest in Peace.
Thank you...I can't read that enough....
We have lost one of America's most brilliant historians. May he be a total peace.
free dixie,sw
Did you read your own post? :-)
Book TV Programs
A Weekly Look at Selected Book TV Programs
GGG managers are SunkenCiv, StayAt HomeMother & Ernest_at_the_Beach | |
Thanks Moose4. |
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


text:
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text:
In Jordan, one woman is killed every two weeks in a "family honor crime," and the killers receive little or no jail time. This is only one of the harsh facts revealed in Shelley Saywell's chilling documentary "Crimes of Honor." Well-paced, hard-hitting and informative, this "Cinemax Reel Life" presentation should be considered must-see viewing for anyone concerned about human rights and women's issues in the Middle East.
In Jordan, one woman is killed every two weeks in a "family honor crime," and the killers receive little or no jail time. This is only one of the harsh facts revealed in Shelley Saywell's chilling documentary "Crimes of Honor." Well-paced, hard-hitting and informative, this "Cinemax Reel Life" presentation should be considered must-see viewing for anyone concerned about human rights and women's issues in the Middle East.
The story of Rania Arafat, a 23-year-old Jordanian murdered by her brother for refusing to marry a cousin, serves as an introduction to the plight of low-income women in Jordan, West Bank, Afghanistan and Iran. In many cases, these victims of ancient tribal customs and family pride are murdered by their relatives for leaving an abusive husband, refusing arranged marriages, even for being raped or just being victims of vicious gossip. Filmmaker Saywell incorporates the reading of Rania Arafat's letters to her family (voice of Arsinee Khanjian) with on-camera interviews with Jordanian lawyer Asma Khader, who argues the case of these women in courts and arranges operations to "restore" their virginity to protect them against abusive family members. Also profiled is Jordan Times reporter Rana Husseini, who has won several human rights awards for exposing this brutal practice. Husseini recounts the harrowing story of a 16-year-old who was raped by her older brother and then killed by her younger brother in retaliation. Even more startling is an interview with a man who strangled his sister after she ran away from home. Although he and his father are both jailed for committing the crime — for seven years only — his proud, unrepentant tone drives home the shocking message of the documentary. Although "Crimes of Honor" briefly mentions similar trends in Afghanistan and Iran, it fails to clearly differentiate between the cultural and religious climates in various spots in the Middle East. As informative and timely as the piece is, Saywell could have broadened its scope by incorporating more research and footage from countries other than Jordan, and the contrast between westernized communities and fundamentalist branches of these societies. Nevertheless, "Cinemax Reel Life," which has showcased the Oscar-winning "Breathing Lesson: The Life and Work of Mark O'Brien" and other noteworthy projects in the past, should be commended for taking a chance on such a tough topic. Viewers should be warned about some very gruesome scenes depicting the stoning of prostitutes by Muslim fanatics, and graphic photos of a murder victim — certainly not your typical channel-surfing material.Crimes of Honor
Cinemax; Mon. Feb. 28, 7 p.m.
Shot in Jordan and the West Bank. Produced by Bishari Films Productions in assoc. with the Canadian Broadcasting Corporation. Director, writer, producer, Shelley Saywell; exec producer for CBC: Marie Natanson; exec producer for Cinemax, Sheila Nevins; supervising producer, Nancy Abraham; narrated by Olympia Dukakis; editor, Deborah Palloway; cinematographer, Michael Grippo; sound, Peter Sawade; music, Kevan Staples. Running Time: 60 MIN.


text:
Product Description
A caricature of the well-known Hollywood silent era comedian actor; Stan Laurel
Digitally rendered using Photoshop and available on high quality art paper of your choice, unto A1 in size.
Gallery quality Giclée print on either; Hahnemühle William Turner Matt Fine Art – 310gsm | Innova Smooth Cotton High White – 315gsm, 100% cotton rag, archival paper | Matte "Poster" Paper Smooth White – 220gsm using Epson HDR Ultrachrome inks. Available with or without custom trimmed with 1″ border for framing (without is suitable for IKEA RIBBA frames).
Each print(s) order is rolled and protected inside a strong posting cylinder.
(Frames NOT included)


text:
Hilton Marco Island Beach Resort
Address: 560 S. Collier Blvd., Marco Island, FL 34145-5503
Phone Number:
United States >
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Bar / Lounge
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Room Service
Swimming Pool
#3 Top resorts Hotel in Marco Island
#3 On the Beach Hotel in Marco Island
#3 Luxury Hotel in Marco Island
#3 Green Hotel in Marco Island
Price Range (Based on Average Rates): $$$
Hotel Class:4 star — Hilton Marco Island Beach Resort 4*
Number of rooms: 297
- Official Description (provided by the hotel):
- Hilton Marco Island Beach Resort and Spa hotel is perfectly situated on the beautiful Marco Island beach on the Southwest Florida Gulf Coast. This AAA 4- Diamond deluxe 11-story Florida beach resort is only minutes from world-class golfing, the Florida Everglades National Park and some of Southwest Florida's best shopping, dining and recreational activities. Marco Island is conveniently located near Naples, Florida.At the Hilton Marco Island, Florida Resort and hotel, we feature 297 guest rooms including 22 gulf-view one-bedroom suites, and four luxuriously appointed two-bedroom penthouses.The Marco Island Spa at our resort hotel is the perfect hideaway in Southwest Florida. The Spa is a luxuriously appointed full service spa featuring signature facials, therapeutic massages, restoring body treatments, nail care, hair care and relaxation lounges. Our Marco Island spa also features a retail boutique as well as a state-of-the art fitness complex.The Hilton Marco Island, Florida hotel offers Activities and sightseeing opportunities for the entire familyThe Hilton Marco Island, FL hotel and resort offers guests an array of choices for both casual and elegant dining.Planning an Event or Meeting? With 12,000 square feet of total meeting and event facilities, superb catering, wonderful accommodations in a stunning location the Hilton hotel in Marco Island is everything you'll need for a flawless event.So whether for a family vacation, a weekend getaway or to attend a conference, make the Hilton Marco Island Beach Resort and Spa your choice in Southwest Florida. ... more less
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text:
My love for nicole
Fiction, Blowjob, Incest, Masturbation, Young
Author's infos
Gender: male Age: N/A Location: N/A
Posted Wed 27th of June 2012
This is my first story, comments are encouraged and any advice would be helpful
I do not not know when i first started having sexual desires for younger girls, but for whatever reason it happenend.Around my 10th birthday i started experimenting a little with masturbation .I realised that if i stroked my weiner (i say weiner because at that time i was rather on the small side) just the right way and long enough i got quite the pleasure.I was 13 when i saw my first naked girl in person , she was my cousin and she was only 10 at that time.
My aunt Tiffany had dropped her off for what she called a "play date".Well my cousin Nicole was prone to not fully bathing so my mother instructed me to watch her while nicole took a bath.Me and nicole have has been close since we were kids.I was actually a little mad at first i really wanted to go play with myself as i had got accustomed to at that time.Well my mother was not having any disobediance, so i was ordered to do as she said.As i led my cousin nicole into the bathroom to my totally shock she began undressing in front of me.Now at that moment i was totally transfixed on her now beggining to bud titties.She only smiled and me and i could swear she began to slow her actions into a sort of strip tease.
"Do you like what you see james?",she asked.I could not answer her as all words at that moment left me.As i looked at her,her eyes where transfixed on my now hard 3 and half inch penis un able to be covered up in my loose fitting basketball shorts.She was now totally nude in front of me and beggining to pull her barely visible nipples."I think it is totally unfair that i am naked in front of you and you are just gawking at me without taking off any of your clothes."I did not know what to do every part of screamed that this was wrong, but i wanted her to see me.Trying to be bold i said,"why dont you come over here and undress me yourself, i dare you."I knew this would set her off as she was the type of person that would not back out on a dare.
She slowly begin to walk towards me,i turned around to make sure that the door was locked.Nicole grabbed at my shirt and began to take it off,i realised her hands were shaking fairly bad.She then reached for my shorts wrapping her fingers into the shorts and waistband at the same time.She pulled them down and my penis sprang out causing her to gasp and fall back.I thought i heard my mother coming down the hall, then a knock only confirmed it."Is everything alright in there?" "Yes mom nicole slid on some water she is ok."This seemed to satisfy my mom as she left going back down the hall.I looked at nicole and she was climbing back to her feet.She slowly got on to her knees and stared at my penis for what seemed like hours.
She then looked up at me with her blue eyes and asked,"can i touch it?"I only nodded and she reached out and took my penis in her hand and i smiled from ear to ear.She just pulled it up,down,and even sideways examining it."Nicole do you like it?" she nodded."do you like making me happy?" again she nodded."well pull on it gently, going towards you and then back towards my tummy."She obeyed and slowly began to stroke me and i leaned against the door and my eyes glazed over with sexual feelings.Nicole was really getting into and even obeyed when I told her to spit on it.The next thing i thought of was from a porno movie i had saw "Slow down there is one more thing i want you to try, are you willing?" she nodded."ok take it and put it in your mouth." she seemed a bit worried."dont worry if you dont like it you can stop." She nodded and slowly stuck her tongue out and licked my pee hole.
There are no words to describe the feeling that coursed through me as she did this.Then ever so slowly she took my head into her warm mouth."lick it like you would a sucker" with me still in her mouth she began to swirl her tongue aroung the head and i can say it was driving me crazy.Thinking back to the porno i put my hand on the back of her hair and began to gently push her head more on to my penis.She would not budge at first but then she gave way and my full 3 and a half inches was fully in her mouth.Her instincts took over and she began to bob on my penis,slowly at first then building up until a decent speed was reached speed.After about 10 minutes i felt the tell tale sign of my balls tighting and i knew i was close and i did not want to frighten Nicole so i pulled out as my orgasm over took me and moaned maybe a bit to loudly and i squirted jism on.Just then the door was forced open and there stood my mother glarring at me with my quickly deflating penis out and cousin with my jism on her face caught in this incestous act.
********************************************************************************************************************Please comment and if enough good comments and rating i will try and do a part two,and be completely honest on how i did for my first time writing a sexual story such as this one.........and tell me what you think should happen if i decide to do a part 2 in this series
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17 comments
anonymous reader
2013-05-13 18:07:27
Yeah these is Noooooo fucking WAY he has a 5 inch dick. Compesenating for something!?!?
anonymous reader
2012-11-26 01:50:58
no way your 11 and have a 5 inch dick. I bet you have such a small prick that even your mom is worried about you
2012-08-29 17:16:24
2012-07-08 22:48:07
anonymous reader
2012-08-22 02:20:21
3 1/2 in thats tiny im 11 yrs old and am 5 roughly
anonymous reader
2012-07-27 02:15:16
awsome story part 2 please
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text:
Simple ways to forecast inflation: what works best?
There are many ways to forecast the future rate of inflation, ranging from sophisticated statistical models involving hundreds of variables to hunches based on past experience. We generate a number of forecasts using a simple statistical model and an even simpler estimating rule, adding in various measures thought to be helpful in predicting the course of inflation. Then we compare their forecast accuracy. We find that no single specification outperforms all others over all time periods. For example, the median and 16 percent trimmed-mean measures outperform all other specifications during the 1990s, and survey-based inflation expectations seem to do better during volatile periods.
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Volume (Year): (2010)
Issue (Month): Dec ()
Handle: | RePEc:fip:fedcec:y:2010:i:dec6:n:2010-17 |
Contact details of provider: | Postal: 1455 East 6th St., Cleveland OH 44114 Phone: 216.579.2000 Web page: http://www.clevelandfed.org/ More information through EDIRC |
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text:
In Flight
Cristi Bastian 2/16/2007 12:07:17 AM
Oh, wow! Rob, this is gorgeous! Just really fantastic! #606265Ujjwal Mukherjee 2/16/2007 12:17:26 AM
Wonderful image ! #3953082Paul Michko 2/16/2007 2:05:27 AM
Beautiful image, Rob. #3953182Alan L. Borror 2/16/2007 2:26:00 AM
Awesome capture, Rob! #3953259Dominick M. Dimacale 2/16/2007 2:43:35 AM
This is a great image with great contrast...Dominick #3953333Hurk (Steve) Hurkett 2/16/2007 3:45:07 AM
Fabulous capture, Rob ... a great Point of View!!! ...steve #3953543
Marta J. Baldwin 2/16/2007 9:26:14 AM
Great shot Rob! I love the motion in this image! #3955090Pat Gamwell 2/17/2007 8:14:54 PM
Absolutely INCREDIBLE shot, Rob! WOW! The colors, motion and lighting are SUPERB! #3959752KV Day 3/13/2007 4:06:18 AM
I like the movement you caught #4049491Su Sana E. P 3/22/2007 7:13:17 PM
Congratulations on this beautiful Finalist, Rob!! #4083009Laurie Daily 3/23/2007 3:14:41 PM
I love this, Rob. Congratulations on your finalist! #4089273Tarun Bose 3/23/2007 10:54:27 PM
Big congrats Rob, for this outstanding finalist. #4090674Remi Trepanier 3/24/2007 4:48:32 PM
Amazing shot Rob! Congratulations! #4093266Su Sana E. P 3/24/2007 6:13:19 PM
Congratulations on this outstanding Winner, Rob!! #4093578Janine Russell 3/24/2007 6:46:16 PM
Rob, great colors and lighting; congratulations on your Second Place Win. #4093726Kay E. Mahoney 3/24/2007 7:56:29 PM
Congratulations on your second place winner. #4094133Evy Johansen 3/24/2007 8:12:56 PM
Big congratulations on your wonderful win, Rob! #4094260Laurence Saliba 3/24/2007 8:51:30 PM
Congratulations on your win, Rob!!! #4094403Christopher Budny 3/25/2007 5:58:07 AM
Wow! The colors on the water are fantastic alone; great motion capture as well! Congratulations! #4095217Sharon Day 3/25/2007 6:04:37 AM
Gorgeous shot, Rob!!! Congratulations! #4095257Claudia Kuhn 3/25/2007 7:44:03 AM
Beautiful capture, congrats on your win! #4095555Tarun Bose 3/25/2007 9:06:09 AM
Big congrats Rob on your excellent winner. #4095740Darryl Wilkinson 3/25/2007 12:23:09 PM
Congratulations on this outstanding winner, Rob!#4096009
Jill Flynn 3/25/2007 9:09:45 PM
Love this Rob. The colors, movement and mood are WONDERFUL! Congratulations on your win! #4097156Milan Banik 3/26/2007 4:53:15 AM
wonderful shot ,Congratulations #4097930Roger Fry 3/28/2007 4:39:54 AM
Superb winner Rob !Roger #4105107
Donna W. Neal 4/1/2007 6:53:33 AM
Congratulations on a well deserved Win
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Come indulge with The Grape Life and Cheesecake Loft for an evening of desserts and wine. The night includes a sampling of 6 different cheesecakes by the Cheesecake Loft and wines expertly paired by The Grape Life, while you mix and mingle with new friends. Leave your business card for a chance to win a door prize.
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Garrison Keillor: Book Discussion and Signing
Garrison Keillor: Book Discussion and Signing
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Date and Time
Sunday, June 8, 2014 from 3 p.m. to 5 p.m.
Camino Hall, Shiley Theatre
5998 Alcala Park
San Diego,
USD's College of Arts and Sciences and Warwick's are pleased to present Garrison Keillor, who will be discussing and signing The Keillor Reader.
Event Details:
- Guest check in will begin at 2 p.m.
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- Seating is first come. No reserved seating
- All guests must present a printed ticket at the door to enter the venue and receive a copy of The Keillor Reader.
- Book signing to immediately follow discussion
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Frank Capra
Frank Capra | |
Frank Capra circa 1930s
Born | Francesco Rosario Capra May 18, 1897 Bisacquino, Sicily, Italy |
Died | September 3, 1991 La Quinta, California, U.S. |
(aged 94)
Cause of death | Heart failure |
Resting place | Coachella Valley Public Cemetery |
Other names | Frank Russell Capra |
Alma mater | California Institute of Technology |
Occupation | Film director, producer, writer |
Years active | 1922–1964 |
Political party | Republican |
Spouse(s) | Helen Howell (m. 1923; div. 1928) Lucille Warner (m. 1932; d. 1984) |
Children | 4, including Frank Capra Jr. |
Frank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was an Italian-American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the "American dream personified."[1]
Capra became one of America's most influential directors during the 1930s, winning three Oscars from his six nominations as Best Director, along with three other Oscar wins from nine nominations in other categories. Among his leading films were It Happened One Night (1934), You Can't Take It With You (1938), and Mr. Smith Goes to Washington (1939); Capra was nominated as Best Director and as producer for Academy Award for Best Picture on all three films, winning both awards on the first two. During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films, such as the Why We Fight series.
After World War II, Capra's career declined as his later films such as It's a Wonderful Life (1946), which flopped when it was first released, were critically derided as being "simplistic" or "overly idealistic".[2] In succeeding decades, however, these films have been favorably reassessed. Outside of directing, Capra was active in the film industry, engaging in various political and social issues. He served as President of the Academy of Motion Pictures Arts and Sciences, worked alongside the Screenwriters Guild, and was head of the Directors Guild of America.
Early lifeEdit
Capra was born Francesco Rosario Capra in Bisacquino, Sicily, a village near Palermo. He was the youngest of seven children of Salvatore Capra, a fruit grower, and the former Rosaria "Serah" Nicolosi. Capra's family was Roman Catholic.[3] The name "Capra", notes Capra's biographer Joseph McBride, represents his family's closeness to the land, and means "goat".[4] He notes that the English word "capricious" derives from it, "evoking the animal's skittish temperament", adding that "the name neatly expresses two aspects of Frank Capra's personality: emotionalism and obstinacy."[4]
In 1903, when he was five, Capra emigrated to the United States with his family, who traveled in one of the steerage compartments of the steamship, Germania, which was the cheapest way to book passage. For Capra, the journey, which took 13 days, remained in his mind for the rest of his life as one of his worst experiences:
You're all together – you have no privacy. You have a cot. Very few people have trunks or anything that takes up space. They have just what they can carry in their hands or in a bag. Nobody takes their clothes off. There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be.[5]
Capra remembers the ship's arrival in New York Harbor, where he saw "a statue of a great lady, taller than a church steeple, holding a torch above the land we were about to enter". He recalls his father's exclamation at the sight:
Ciccio, look! Look at that! That's the greatest light since the star of Bethlehem! That's the light of freedom! Remember that. Freedom.[6]
The family settled in Los Angeles's East Side (today Chinatown) which Capra described in his autobiography as an Italian "ghetto".[7] Capra's father worked as a fruit picker and young Capra sold newspapers after school for 10 years, until he graduated from high school. Instead of working after graduating, as his parents wanted, he enrolled in college. He worked through college at the California Institute of Technology, playing banjo at nightclubs and taking odd jobs, which included working at the campus laundry facility, waiting tables, and cleaning engines at a local power plant. He studied chemical engineering and graduated in the spring of 1918.[8] Capra later wrote that his college education had "changed his whole viewpoint on life from the viewpoint of an alley rat to the viewpoint of a cultured person".[9]
World War I and afterEdit
Soon after graduating college, Capra was commissioned in the US Army as a second lieutenant, having completed campus ROTC. In the Army, he taught mathematics to artillerymen at Fort Point, San Francisco. His father died during the war in an accident (1916). In the Army, Capra contracted Spanish flu and was medically discharged to return home to live with his mother. He became a naturalized U.S. citizen in 1920, taking the name Frank Russell Capra.[9] Living at home with his siblings and mother, Capra was the only family member with a college education, yet he was the only one who remained chronically unemployed. After a year without work, seeing how his siblings had steady jobs, he felt he was a failure, which led to bouts of depression and abdominal pains, later discovered to have been an undiagnosed burst appendix.[9]
After recovering at home, Capra moved out and spent the next few years living in flophouses in San Francisco and hopping freight trains, wandering the Western United States. To support himself, he took odd jobs on farms, as a movie extra, playing poker, and selling local oil well stocks. In his early twenties, Capra had to undergo a circumcision due to recurring bouts of STIs (the first of which happened after an anonymous encounter with a woman at a party in San Francisco), which caused severe damage to his sex life, an affliction that lasted until his twilight years.[10]
It was during this time that the 24-year-old Capra directed a 32-minute documentary film entitled La Visita Dell'Incrociatore Italiano LIBYA a San Francisco. Not only did it document the visit of the Italian naval vessel LIBYA to San Francisco, but also the reception given to the crew of the ship by San Francisco's L'Italia Virtus Club, now known as the San Francisco Italian Athletic Club.
At age 25, Capra took a job selling books written and published by American philosopher, Elbert Hubbard.[9] Capra recalled that he "hated being a peasant, being a scrounging new kid trapped in the Sicilian ghetto of Los Angeles ... All I had was cockiness – and let me tell you that gets you a long way."[11]
Early careerEdit
Silent film comediesEdit
During his book sales efforts – and nearly broke – Capra read a newspaper article about a new movie studio opening in San Francisco. Capra phoned them saying he had moved from Hollywood, and falsely implied that he had experience in the budding film industry. Capra's only prior exposure to films was in 1915 while attending Manual Arts High School. The studio's founder, Walter Montague, was nonetheless impressed by Capra and offered him $75 to direct a one-reel silent film. Capra, with the help of a cameraman, made the film in two days and cast it with amateurs.[9]
After that first serious job in films, Capra began efforts to finding similar openings in the film industry. He took a position with another minor San Francisco studio, and subsequently received an offer to work with producer Harry Cohn at his new studio in Los Angeles. During this time, he worked as a property man, film cutter, title writer, and assistant director.[12]
Capra later became a gag writer for Hal Roach's Our Gang series and then writer for slapstick comedy director, Mack Sennett, where he wrote scripts for comedian Harry Langdon. According to Capra, it was he who invented Langdon's character, the innocent fool living in a "naughty world."[12]
When Langdon eventually left Sennett to make longer, feature-length movies with First National Studios, he took Capra along as his personal writer and director. They made three feature films together during 1926 and 1927, all of them successful with critics and the public. The films made Langdon a recognized comedian in the caliber of Charlie Chaplin and Buster Keaton. Capra and Langdon later had a falling out, and Capra was fired. During the following years, Langdon's films went into decline without Capra's assistance.[13] After splitting with Langdon, Capra directed a picture for First National, For the Love of Mike, (1927). This was a silent comedy about three bickering godfathers, a German, a Jew, and an Irishman, starring a budding actress, Claudette Colbert. The movie was considered a failure.[12]
Columbia PicturesEdit
Early sound films Capra returned to Harry Cohn's studio, now named Columbia Pictures, which was then producing short films and two-reel comedies used as "fillers", which played between main features. Columbia was one of many start-up studios on "Poverty Row" in Los Angeles. Like the others, Columbia was unable to compete with larger studios which often had their own production facilities, distribution and theaters. Cohn rehired Capra in 1928 to help his studio produce new, full-length feature films, to compete with the major studios. Capra would eventually direct 20 films for Cohn's studio, including all of his classics.[12]
Because of Capra's engineering education, he adapted more easily to the new sound technology than most directors. He welcomed the transition to sound, recalling, "I wasn't at home in silent films."[12] Most studios were unwilling to invest in the new sound technology, assuming it was a passing fad. Many in Hollywood considered sound a threat to the industry and hoped it would pass quickly; McBride notes that "Capra was not one of them." When he saw Al Jolson singing in The Jazz Singer in 1927, considered the first talkie, Capra recalled his reaction:
It was an absolute shock to hear this man open his mouth and a song come out of it. It was one of those once-in-a-lifetime experiences.[14]
Few of the studio heads or crew were aware of Capra's engineering background until he began directing The Younger Generation in 1929. The chief cinematographer who worked with Capra on a number of films, was likewise unaware. He describes this early period in sound for film:
It wasn't something that came up. You had to bluff to survive. When sound first came in, nobody knew much about it. We were all walking around in the dark. Even the sound man didn't know much about it. Frank lived through it. But he was quite intelligent. He was one of the few directors who knew what the hell they were doing. Most of your directors walked around in a fog – they didn't know where the door was.[15]
During his first year with Columbia, Capra directed nine films, some of which were successful. After the first few, Harry Cohn said "it was the beginning of Columbia making a better quality of pictures."[16] According to Barson, "Capra became ensconced as Harry Cohn's most trusted director."[17] His films soon established Capra as a "bankable" director known throughout the industry, and Cohn raised Capra's initial salary of $1,000 per film to $25,000 per year.[12] Capra directed a film for MGM during this period, but soon realized he "had much more freedom under Harry Cohn's benevolent dictatorship", where Cohn also put Capra's "name above the title" of his films, a first for the movie industry.[18] Capra wrote of this period and recalled the confidence that Cohn placed in Capra's vision and directing:
I owed Cohn a lot – I owed him my whole career. So I had respect for him, and a certain amount of love. Despite his crudeness and everything else, he gave me my chance. He took a gamble on me.[19]
Capra directed his first "real" sound picture, The Younger Generation, in 1929. It was a rags-to-riches romantic comedy about a Jewish family's upward mobility in New York City, with their son later trying to deny his Jewish roots in order to keep his rich gentile girlfriend.[citation needed] According to Capra biographer Joseph McBride, Capra "obviously felt a strong identification with the story of a Jewish immigrant who grows up in the ghetto of New York... and feels he has to deny his ethnic origins to rise to success in America." Capra, however, denied any connection of the story with his own life.[citation needed]
Nonetheless, McBride insists that The Younger Generation abounds with parallels to Capra's own life." McBride notes the "devastatingly painful climactic scene", where the young social-climbing son, embarrassed when his wealthy new friends first meet his parents, passes his mother and father off as house servants. That scene, notes McBride, "echoes the shame Capra admitted feeling toward his own family as he rose in social status."[20]
During his years at Columbia, Capra worked often with screenwriter Robert Riskin (husband of Fay Wray), and cameraman Joseph Walker. In many of Capra's films, the wise-cracking and sharp dialogue was often written by Riskin, and he and Capra went on to become Hollywood's "most admired writer-director team."[21]
Film career (1934–1941)Edit
It Happened One Night (1934)Edit
Capra's films in the 1930s enjoyed immense success at the Academy Awards. It Happened One Night (1934) became the first film to win all five top Oscars (Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay). Written by Robert Riskin, it is one of the first of the "screwball comedies", and with its release in the Great Depression, critics considered it an escapist story and a variation of the "American Dream". The film established the names of Capra, Columbia Pictures, and stars Clark Gable and Claudette Colbert in the movie industry. The film has been called "picaresque", and was one of the earliest "road movies" which inspired variations on its theme by other filmmakers.[22]
The film was followed by Broadway Bill (1934), a screwball comedy about horse racing. The film was a turning point for Capra, however, as he began to conceive of an additional dimension to his movies. He started using his films to convey messages to the public. Capra explains his new thinking:
My films must let every man, woman, and child know that God loves them, that I love them, and that peace and salvation will become a reality only when they all learn to love each other.[22]
This added goal was inspired after meeting with a Christian Scientist friend who told him to view his talents in a different way:
The talents you have, Mr. Capra, are not your own, not self-acquired. God gave you those talents; they are His gifts to you, to use for His purpose.[22]
Capra began to embody messages in subsequent films, many of which conveyed "fantasies of goodwill." The first of those was Mr. Deeds Goes to Town (1936), for which Capra won his second Best Director Oscar. Critic Alistair Cooke observed that Capra was "starting to make movies about themes instead of people."[23]
In 1938, Capra won his third Director Oscar in five years for You Can't Take It with You, which also won Best Picture. In addition to his three directing wins, Capra received directing nominations for three other films (Lady for a Day, Mr. Smith Goes to Washington, and It's a Wonderful Life). On May 5, 1936, Capra hosted the 8th Academy Awards ceremony.
Mr. Smith Goes to Washington (1939)Edit
Although It's a Wonderful Life is his best-known film, Friedman notes that it was Mr. Smith Goes to Washington (1939) which most represented the "Capra myth." That film expressed Capra's patriotism more than any others, and "presented the individual working within the democratic system to overcome rampant political corruption."[24]
The film, however, became Capra's most controversial. In his research before filming, he was able to stand close to President Franklin D. Roosevelt during a press conference after the recent acts of war by Germany in Europe. Capra recalls his fears:
And panic hit me. Japan was slicing up the colossus of China piece by piece. Nazi panzers had rolled into Austria and Czechoslovakia; their thunder echoed over Europe. England and France shuddered. The Russian bear growled ominously in the Kremlin. The black cloud of war hung over the chancelleries of the world. Official Washington from the President down, was in the process of making hard, torturing decisions. "And here was I, in the process of making a satire about government officials; ... Wasn't this the most untimely time for me to make a film about Washington?"[25]
When the filming was completed, the studio sent preview copies to Washington. Joseph P. Kennedy, U.S. ambassador to the UK, wrote to Columbia head Harry Cohn, "Please do not play this picture in Europe."[24] Politicians were concerned about the potential negative impact the film might have on the morale of the United States' allies, as World War II had begun. Kennedy wrote to president Roosevelt that "in foreign countries this film must inevitably strengthen the mistaken impression that the United States is full of graft, corruption and lawlessness."[26] Many studio heads agreed nor did they want negative feelings about Hollywood to be instilled in political leaders.[27]
Nonetheless, Capra's vision of the film's significance was clear:
The more uncertain are the people of the world, the more their hard-won freedoms are scattered and lost in the winds of chance, the more they need a ringing statement of America's democratic ideals. The soul of our film would be anchored in Lincoln. Our Jefferson Smith would be a young Abe Lincoln, tailored to the rail-splitter's simplicity, compassion, ideals, humor, and unswerving moral courage under pressure.[28]
Capra pleaded with Cohn to allow the film to go into distribution and remembers the intensity of their decision making:
Harry Cohn paced the floor, as stunned as Abraham must have been when the Lord asked him to sacrifice his beloved son Isaac.[29]
Cohn and Capra chose to ignore the negative publicity and demands, and released the film as planned. It was later nominated for 11 Academy Awards, only winning one (for Best Original Story) partly because of the number of major pictures that were nominated that year was 10, including The Wizard of Oz and Gone with the Wind.[17] Hollywood columnist Louella Parsons called it a "smash patriotic hit" and most critics agreed, seeing that audiences left the theaters with "an enthusiasm for democracy" and "in a glow of patriotism."[26]
The significance of the film's message was established further in France, shortly after World War II began. When the French public were asked to select which film they wanted to see most, having been told by the Vichy government that soon no more American films would be allowed in France, the overwhelming majority chose it over all others. To a France soon to be invaded and occupied by Nazi forces, the film most expressed the "perseverance of democracy and the American way."[24]
Meet John Doe (1941)Edit
In 1941 Capra directed Meet John Doe (1941), considered by some to be Capra's most controversial movie. The film's hero, played by Gary Cooper, is a former baseball player now bumming around, lacking goals. He is selected by a news reporter to represent the "common man", used to capture the imagination of ordinary Americans. The film was released shortly before America became involved in World War II, and citizens were still in an isolationist mood. According to some historians, the film was made to convey a "deliberate reaffirmation of American values", although ones which seemed uncertain with respect to the future.
Film author Richard Glazer speculates that the film may have been autobiographical, "reflecting Capra's own uncertainties." Glazer describes how "John's accidental transformation from drifter to national figure parallels Capra's own early drifting experience and subsequent involvement in movie making ... Meet John Doe, then, was an attempt to work out his own fears and questions."[30]
World War II years (1941–1945)Edit
Joining the Army after Pearl HarborEdit
Within four days after the Japanese Attack on Pearl Harbor on December 7, 1941, Capra quit his successful directing career in Hollywood and received a commission as a major in the United States Army. He also gave up his presidency of the Screen Directors Guild. Being 44 years of age, he was not asked to enlist, but, notes Friedman, "Capra had an intense desire to prove his patriotism to his adopted land."[24]
Capra recalls some personal reasons for enlisting:
I had a guilty conscience. In my films I championed the cause of the gentle, the poor, the downtrodden. Yet I had begun to live like the Aga Khan. The curse of Hollywood is big money. It comes so fast it breeds and imposes its own mores, not of wealth, but of ostentation and phony status.[31]
Why We Fight seriesEdit
During the next four years of World War II, Capra's job was to head a special section on morale to explain to soldiers "why the hell they're in uniform", writes Capra, and were not "propaganda" films like those created by the Nazis and Japan. Capra directed or co-directed seven documentary war information films.
Capra was assigned to work directly under Chief of Staff George C. Marshall, the most senior officer in command of the Army, who later created the Marshall Plan and was awarded a Nobel Peace Prize. Marshall chose to bypass the usual documentary film-making department, Signal Corps, because he felt they were not capable of producing "sensitive and objective troop information films." One colonel explained the importance of these future films to Capra:
You were the answer to the General's prayer ... You see, Frank, this idea about films to explain "Why" the boys are in uniform is General Marshall's own baby, and he wants the nursery right next to his Chief of Staff's office.[32]
During his first meeting with General Marshall, Capra was told his mission:
Now, Capra, I want to nail down with you a plan to make a series of documented, factual-information films – the first in our history – that will explain to our boys in the Army why we are fighting, and the principles for which we are fighting ... You have an opportunity to contribute enormously to your country and the cause of freedom. Are you aware of that, sir?[33]
The films included the seven-episode Why We Fight series – consisting of Prelude to War (1942), The Nazis Strike (1942), Divide and Conquer (1943), The Battle of Britain (1943), The Battle of Russia (1943), The Battle of China (1944), War Comes to America (1945) – plus Know Your Enemy: Japan (1945), Here Is Germany (1945), Tunisian Victory (1945), and Two Down and One to Go (1945) that do not bear the Why We Fight banner; as well as the African-American related film, The Negro Soldier (1944).[citation needed]
After completion of the first few documentaries, government officials and U.S. Army staff found them to be powerful messages and excellent presentations of why it was necessary for the U.S. to fight in the war. All footage came from military and government sources, whereas during earlier years, many newsreels secretly used footage from enemy sources. Animated charts were created by Walt Disney and his animators. A number of Hollywood composers wrote the background music, including Alfred Newman and Russian-born composer Dimitri Tiomkin. After the first complete film was viewed by General Marshall along with U.S. Army staff, Marshall approached Capra: "Colonel Capra, how did you do it? That is a most wonderful thing."[34]
Officials made efforts to see that the films were seen in theaters throughout the U.S. They were translated into French, Spanish, Portuguese, and Chinese for use by other countries. Winston Churchill ordered that all of them be shown to the British public in theaters.[35] They are today often broadcast on television and used as a teaching aid.[24]
The Why We Fight series is widely considered a masterpiece of war information documentaries, and won an Academy Award. Prelude to War won the 1942 Academy Award for Documentary Feature. When his career ended, Capra regarded these films as his most important works. As a colonel, he received the Legion of Merit in 1943 and the Distinguished Service Medal in 1945.
Post-war career (1946–1961)Edit
It's a Wonderful Life (1946)Edit
After the war ended, along with directors William Wyler and George Stevens, Capra founded Liberty Films. Their studio became the first independent company of directors since United Artists in 1919 whose goal was to make films without interference by studio bosses. However, the only picture completed by the studio was It's a Wonderful Life (1946).[11] It was a box office disappointment, but was nonetheless nominated for five Academy Awards.
While the film did not resonate with audiences in 1946, its popularity as a top production has grown through the years. In 1998, the American Film Institute (AFI) named it one of the best films ever made, putting it at 11th on AFI's 100 Years... 100 Movies list of the top American films of all time. In 2006, the AFI put the film at the top of its AFI's 100 Years... 100 Cheers list, ranking what AFI considers to be the most inspirational American movies of all time. It would become Capra's last film to win major acclaim—his successful years were now behind him, although he directed five more films over the next 14 years.[11]
For State of the Union (1948), Capra changed studios, working for the only time for MGM Pictures. Although the project had an excellent pedigree with stars Spencer Tracy and Katharine Hepburn, the film was not a success, and Capra's eyebrow-raising statement, "I think State of the Union was my most perfect film in handling people and ideas" has few adherents today.[36]
Representing U.S. at International Film FestivalEdit
In January 1952, Capra was requested by the U.S. Ambassador to India to represent the U.S. film industry at the International Film Festival to be held in India. A State Department friend of Capra asked him and explained why his trip would be important:
[Ambassador] Bowles thinks the Festival is a Communist shenanigan of some kind, but he doesn't know what ... Bowles has asked for you. "I want a free-wheeling guy to take care of our interest on his own. I want Capra. His name is big here, and I've heard he's quick on his feet in an alley fight."[37]
After two weeks in India, Capra discovered that Bowles' fears were warranted, as many film sessions were used by Russian and Chinese representatives to give long political speeches. At a lunch with 15 Indian directors and producers, he stressed that "they must preserve freedom as artists, and that any government control would hinder that freedom. A totalitarian system – and they would become nothing but publicity men for the party in power." Capra had a difficult time communicating this, however, as he noted in his diary:
They all think some super-government or super-collection of individuals dictates all American pictures. Free enterprise is mystery to them. Somebody must control, either visible or invisible ... Even intellectuals have no great understanding of liberty and freedom ... Democracy only a theory to them. They have no idea of service to others, of service to the poor. The poor are despised, in a sense.[38]
When he returned to Washington to give his report, Secretary of State Dean Acheson gave Capra his commendation for "virtually single-handedly forestalling a possible Communist take-over of Indian films." Ambassador Bowles also conveyed gratitude to Capra for "one helluva job."[39]
Disillusionment period and later yearsEdit
Although It's a Wonderful Life and State of the Union were successful soon after the war ended, Capra's themes were becoming out of step with changes in the film industry and the public mood. Friedman finds that while Capra's ideas were popular with depression-era and prewar audiences, they became less relevant to a prospering post-war America. Capra had become "disconnected from an American culture that had changed" during the previous decade.[24] Biographer Joseph McBride argues that Capra's disillusionment was more related to the negative effect that the House Un-American Activities Committee (HUAC) had on the film industry in general. The HUAC interrogations in the early 1950s ended many Hollywood careers. Capra himself was not called to testify, although he was a prime target of the committee due to his past associations with many Hollywood blacklisted screenwriters.[24]
Capra blames his early retirement from films on the rising power of stars, which forced him to continually compromise his artistic vision. He also claims that increasing budgetary and scheduling demands were constraining his creative abilities.[24] Film historian Michael Medved agrees with and understands Capra's impressions, noting that he walked away from the movie business because "he refused to adjust to the cynicism of the new order."[40] In his autobiography written in 1971, Capra expressed his feelings about the shifting film industry:[41]
The winds of change blew through the dream factories of make-believe, tore at its crinoline tatters.... The hedonists, the homosexuals, the hemophiliac bleeding hearts, the God-haters, the quick-buck artists who substituted shock for talent, all cried: "Shake 'em! Rattle 'em! God is dead. Long live pleasure! Nudity? Yea! Wife-swapping? Yea! Liberate the world from prudery. Emancipate our films from morality!".... Kill for thrill – shock! Shock! To hell with the good in man, Dredge up his evil – shock! Shock![40]
Capra added that in his opinion, "practically all the Hollywood film-making of today is stooping to cheap salacious pornography in a crazy bastardization of a great art to compete for the 'patronage' of deviates and masturbators."[42][Note 1]
Capra remained employable in Hollywood during and after the HUAC hearings, but chose nonetheless to demonstrate his loyalty by attempting to re-enlist in the Army at the outbreak of the Korean War, in 1950. He was rejected due to his age.[43] He was later invited to join the Defense Department's newly formed Think Tank project, VISTA, but was denied the necessary clearance. According to Friedman, "these two rejections were devastating to the man who had made a career of demonstrating American ideals in film", along with his directing award-winning documentary films for the Army. By 1952, at the age of 55, Capra effectively retired from Hollywood filmmaking and spent his later years working with Caltech, his alma mater, to produce educational films on science topics.[24]
Later films (1950–1961)Edit
Capra directed two films at Paramount Pictures starring Bing Crosby, Riding High (1950) and Here Comes the Groom (1951). From 1952 to 1956, Capra produced four science-related television specials in color for The Bell Laboratory Science Series: Our Mr. Sun (1956), Hemo the Magnificent (1957), The Strange Case of the Cosmic Rays (1957), and Meteora: The Unchained Goddess (1958). These educational science documentaries were popular favorites for school science classrooms.[44] It was eight years before he directed another theatrical film, A Hole in the Head (1959) with Frank Sinatra and Edward G. Robinson, his first feature film in color. His final theatrical film was with Glenn Ford and Bette Davis, named Pocketful of Miracles (1961), a remake of his 1933 film Lady for a Day. In the mid-1960s he worked on pre-production for an adaptation of Martin Caidin's novel Marooned, but budgetary constraints caused him to eventually shelve it.[45]
Capra's final film, Rendezvous in Space (1964), was an industrial film made for the Martin Marietta Company and shown at the 1964 New York World's Fair. It was exhibited at the New York Hall of Science after the Fair ended.
Directing styleEdit
Capra's directing style relied on improvisation to a great extent. He was noted for going on the set with no more than the master scenes written. He explained his reasoning:
What you need is what the scene is about, who does what to whom, and who cares about whom ... All I want is a master scene and I'll take care of the rest – how to shoot it, how to keep the machinery out of the way, and how to focus attention on the actors at all times.[46]
According to some experts, Capra used great, unobtrusive craftsmanship when directing, and felt it was bad directing to distract the audience with fancy technical gimmicks. Film historian and author William S. Pechter described Capra's style as one "of almost classical purity." He adds that his style relied on editing to help his films sustain a "sequence of rhythmic motion." Pechter describes its effect:
Capra's [editing] has the effect of imposing order on images constantly in motion, imposing order on chaos. The end of all this is indeed a kind of beauty, a beauty of controlled motion, more like dancing than painting ... His films move at a breathtaking clip: dynamic, driving, taut, at their extreme even hysterical; the unrelenting, frantic acceleration of pace seems to spring from the release of some tremendous accumulation of pressure.[46]
Film critic John Raeburn discusses an early Capra film, American Madness (1932), as an example of how he had mastered the movie medium and expressed a unique style:
The tempo of the film, for example, is perfectly synchronized with the action ... As the intensity of the panic increases, Capra reduces the duration of each shot and uses more and more crosscutting and jump shots to emphasize the "madness" of what is happening ... Capra added to the naturalistic quality of the dialogue by having speakers overlap one another, as they often do in ordinary life; this was an innovation that helped to move the talkies away from the example of the legitimate stage.[21]
As for Capra's subject matter, film author Richard Griffith tries to summarize Capra's common theme:
[A] messianic innocent ... pits himself against the forces of entrenched greed. His inexperience defeats him strategically, but his gallant integrity in the face of temptation calls for the goodwill of the "little people", and through their combined protest, he triumphs.[46]
Capra's personality when directing gave him a reputation for "fierce independence" when dealing with studio bosses. On the set he was said to be gentle and considerate, "a director who displays absolutely no exhibitionism."[47] As Capra's films often carry a message about basic goodness in human nature, and show the value of unselfishness and hard work, his wholesome, feel-good themes have led some cynics to term his style "Capra-corn." However, those who hold his vision in higher regard prefer the term "Capraesque".[24]
Capra's basic themes of championing the common man, as well as his use of spontaneous, fast-paced dialogue and goofy, memorable lead and supporting characters, made him one of the most popular and respected filmmakers of the 20th century. His influence can be traced in the works of many directors, including Robert Altman,[48] Ron Howard,[48] Masaki Kobayashi,[49] Akira Kurosawa,[50] John Lasseter,[51] David Lynch,[52] John Milius,[48] Martin Scorsese,[48] Steven Spielberg,[53] Oliver Stone[48] and François Truffaut [54]
Personal lifeEdit
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Capra married actress Helen Howell in 1923; they divorced in 1928. He married Lucille Warner in 1928, with whom he had a daughter and three sons, one of whom died in infancy.[55]
Capra was four times president of the Academy of Motion Picture Arts and Sciences and three times president of the Directors Guild of America, which he helped found. Under his presidency, he worked to give directors more artistic control of their films. During his career as a director, he retained an early ambition to teach science, and after his career declined in the 1950s, he made educational TV films related to science subjects.[47]
Physically, Capra was short, stocky, and vigorous, and enjoyed outdoor activities such as hunting, fishing, and mountain climbing. In his much later years, he spent time writing short stories and songs, along with playing his guitar.[47] He collected fine and rare books during the 1930s/40s. His 'Distinguished Library' was sold at auction in New York in 1949, realizing over $68,000 ($684,500 today).[citation needed]
His son Frank Capra Jr., one of the four children born to Capra and his second wife, Lucille Capra, was the president of EUE Screen Gems Studios in Wilmington, North Carolina, until his death on December 19, 2007. His grandsons, brothers Frank Capra III and Jonathan Capra, have both worked as assistant directors – Frank III worked on the 1995 film The American President, which referred to Frank Capra in the film's dialogue.[citation needed]
In 1985, at age 88, Capra suffered one of a series of strokes.[56] He died in La Quinta, California, of a heart attack in his sleep in 1991 at the age of 94.[57] He was interred at Coachella Valley Public Cemetery in Coachella, California.[58]
He left part of his 1,100-acre (4 km2) ranch in Fallbrook, California, to Caltech as a retreat center.[59] Capra's personal papers and some film related materials are contained in the Wesleyan University Cinema Archives, which allows scholars and media experts full access.[60]
The Academy Film Archive preserved "The Matinee Idol" and "Two Down and One to Go!" by Frank Capra.[61]
Political beliefsEdit
Capra's political beliefs coalesced in his films, which promoted and celebrated the spirit of American individualism. A conservative Republican, Capra railed against Franklin Delano Roosevelt during his tenure as governor of New York, and opposed his presidency during the years of the Depression. Capra stood against government intervention during the national economic crisis.[62]
In the years following World War II, he became a self-described pacifist, and was very critical of the Vietnam War as it was happening.[63][55]
During the golden age of Hollywood, Capra's "fantasies of goodwill" made him one of the two or three most famous and successful directors in the world.[47] Film historian Ian Freer notes that at the time of his death in 1991, his legacy remained intact:
He had created feelgood entertainments before the phrase was invented, and his influence on culture – from Steven Spielberg to David Lynch, and from television soap operas to greeting-card sentiments – is simply too huge to calculate.[1]
Director/actor John Cassavetes contemplating Capra's contribution to the art of film quipped: "Maybe there really wasn't an America, it was only Frank Capra." [64] Capra's films were his love letters to an idealized America – a cinematic landscape of his own invention. The performances his actors gave were invariable portrayals of personalities developed into recognizable images of popular culture, "their acting has the bold simplicity of an icon..." [65]
Like his contemporary, director John Ford, Capra defined and aggrandized the tropes of mythic America where individual courage invariably triumphs over collective evil. Film historian Richard Griffith speaks of Capra's "...reliance on sentimental conversation and the ultimate benevolence of ordinary America to resolve all deep conflicts." [66] "Average America" is visualized as "...a tree lined street, undistinguished frame houses surrounded by modest areas of grass, a few automobiles. For certain purposes it assumed that all real Americans live in towns like this, and so great is the power of myth, even the born city-dweller is likely to believe vaguely that he too lives on this shady street, or comes from it, or is going to." [67]
NYU professor Leonard Quart writes:
"There would be no enduring conflicts – harmony, no matter how contrived and specious, would ultimately triumph in the last frame...In true Hollywood fashion, no Capra film would ever suggest that social change was a complex, painful act. For Capra, there would be pain and loss, but no enduring sense of tragedy would be allowed to intrude on his fabulist world." [66]
Although Capra's stature as a director had declined in the 1950s, his films underwent a revival in the 1960s:
Ten years later, it was clear that this trend had reversed itself. Post-auteurist critics once more acclaimed Capra as a cinematic master, and perhaps more surprisingly, young people packed Capra festivals and revivals all over the United States.[47]
French film historian John Raeburn, editor of Cahiers du cinéma, notes that Capra's films were unknown in France, but there too his films underwent a fresh discovery by the public. He believes the reason for his renewed popularity had to do with his themes, which he made credible "an ideal conception of an American national character":
There is a strong libertarian streak in Capra's films, a distrust of power wherever it occurs and in whomever it is invested. Young people are won over by the fact that his heroes are uninterested in wealth and are characterized by vigorous ... individualism, a zest for experience, and a keen sense of political and social justice. ... Capra's heroes, in short, are ideal types, created in the image of a powerful national myth.[47]
In 1982, the American Film Institute honored Capra by giving him their AFI Life Achievement Award. The event was used to create the television film, The American Film Institute Salute to Frank Capra, hosted by James Stewart. In 1986, Capra received the National Medal of Arts. During his acceptance speech for the AFI award, Capra stressed his most important values:
The art of Frank Capra is very, very simple: It's the love of people. Add two simple ideals to this love of people: the freedom of each individual, and the equal importance of each individual, and you have the principle upon which I based all my films.
Capra expanded on his visions in his 1971 autobiography, The Name Above the Title:
Forgotten among the hue-and criers were the hard-working stiffs that came home too tired to shout or demonstrate in streets ... and prayed they'd have enough left over to keep their kids in college, despite their knowing that some were pot-smoking, parasitic parent-haters.
Who would make films about, and for, these uncomplaining, unsqueaky wheels that greased the squeaky? Not me. My "one man, one film" Hollywood had ceased to exist. Actors had sliced it up into capital gains. And yet – mankind needed dramatizations of the truth that man is essentially good, a living atom of divinity; that compassion for others, friend or foe, is the noblest of all virtues. Films must be made to say these things, to counteract the violence and the meanness, to buy time to demobilize the hatreds.[68]
Awards and honorsEdit
In 1957, Capra was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.[69]
Los Angeles Mayor Sam Yorty, by vote of the city council, declared May 12, 1962 as "Frank Capra Day." George Sidney, President of the Directors Guild, stated that "This is the first time in the history of Hollywood, that the city of Los Angeles has officially recognized a creative talent." At the event ceremony, director John Ford announced that Capra had also received an honorary Order of British Empire (OBE) on the recommendation of Winston Churchill.[70] Ford suggested publicly to Capra:
Make those human comedy-dramas, the kind only you can make – the kind of films America is proud to show here, behind the iron curtain, the bamboo curtain – and behind the lace curtain.[70]
An annual It's a Wonderful Life celebration that Capra attended in 1981, during which he said, "This is one of the proudest moments of my life," was recounted in The New Yorker.[71]
Academy AwardsEdit
Capra won six Academy Awards.[72]
He was nominated six times for Best Director and seven times for Outstanding Production/Best Picture. Out of six nominations for Best Director, Capra received the award three times. He briefly held the record for winning the most Best Director Oscars when he won for the third time in 1938, until this record was matched by John Ford in 1941, and then later surpassed by Ford in 1952. William Wyler also matched this record upon winning his third Oscar in 1959.[citation needed]
Awards and nominationsEdit
- American Film Institute
- Life Achievement Award (1982)
- Directors Guild of America
- Best Director Nomination for A Hole in the Head (1959)
- Life Achievement Award (1959)
- Best Director Nomination for Pocketful of Miracles (1961)
- Golden Globe Award
- Best Director Award for It's a Wonderful Life (1946)
- Venice Film Festival
- Mussolini Cups for best foreign film Nomination for It Happened One Night (1934)
- Mussolini Cups for best foreign film Nomination for Mr. Deeds Goes to Town (1936)
- Golden Lion (1982)
- American Film Institute recognition
- AFI's 100 Years... 100 Movies (10th Anniversary Edition)
- It's a Wonderful Life...# 20
- Mr. Smith Goes to Washington...# 26
- It Happened One Night...# 46
- AFI's 100 Years... 100 Cheers
- It's a Wonderful Life...# 1
- Mr. Smith Goes to Washington...# 5
- Meet John Doe...# 49
- Mr. Deeds Goes to Town...# 83
- AFI's 100 Years... 100 Laughs
- It Happened One Night...# 8
- Arsenic and Old Lace...# 30
- Mr. Deeds Goes to Town...# 70
- AFI's 100 Years... 100 Passions
- It's a Wonderful Life...# 8
- It Happened One Night...# 38
- AFI's 100 Years... 100 Heroes and Villains
- 50 greatest movie heroes
- It's a Wonderful Life...George Bailey ...# 9
- Mr. Smith Goes to Washington...Jefferson Smith ...# 11
- 50 greatest movie villains
- It's a Wonderful Life...Mister Potter ...# 6
- AFI's 10 Top 10
- Fantasy
- It's a Wonderful Life...# 3
- Romantic Comedies
- It Happened One Night...# 3
- Fantasy
- United States National Film Registry
- The Strong Man (1926)
- It Happened One Night (1934)
- Lost Horizon (1937)
- Mr. Smith Goes to Washington (1939)
- Why We Fight Series of seven films (1942)
- It's a Wonderful Life (1946)
See alsoEdit
- ^ Medved points out the irony in Capra's expression of disillusionment: Capra's film It Happened One Night (1934) was the first film to win all five top Oscars; and in 1991, a few months after Capra's death, The Silence of the Lambs also won all five top Oscars.[40]
- ^ a b Freer 2009, pp. 40–41.
- ^ Poague 2004, p. viii.
- ^ De Las Carreras, Maria Elena. "The Catholic Vision of Frank Capra." Crisis, 20, no. 2, February 2002. Retrieved: May 31, 2011.
- ^ a b McBride 1992, p. 16.
- ^ McBride 1992, p. 29.
- ^ McBride 1992, p. 30.
- ^ McBride 1992, p. 34.
- ^ "Distinguished Alumni Award: 1966 Recipients." Caltech Alumni Association. Retrieved: December 18, 2010.
- ^ a b c d e Wakeman 1987, p. 96.
- ^ Schnakenberg 2010, p. 51.
- ^ a b c Stevens 2006, pp. 74–76.
- ^ a b c d e f Wakeman 1987, p. 97.
- ^ Eggert, William D. "The Mystery of Harry Langdon profile, SilentsareGolden.com; accessed July 28, 2016.
- ^ McBride 1992, p. 200.
- ^ McBride 1992, p. 201.
- ^ McBride 1992, p. 189.
- ^ a b Barson 1995, pp. 56–63.
- ^ McBride 1992, p. 197.
- ^ McBride 1992, p. 199.
- ^ McBride 1992, p. 203.
- ^ a b Wakeman 1987, p. 98.
- ^ a b c Wakeman 1987, p. 99.
- ^ Wakeman 1987, p. 100.
- ^ a b c d e f g h i j Pendergast 2000, pp. 428–29.
- ^ Capra 1971, p. 259.
- ^ a b Beauchamp 2010, pp. 364–365.
- ^ Capra 1971, p. 261.
- ^ Capra 1971, p. 260.
- ^ Capra 1971, p. 289.
- ^ Wakeman 1987, p. 101.
- ^ Capra 1971, p. 314.
- ^ Capra 1971, p. 322.
- ^ Capra 1971, p. 326.
- ^ Capra 1971, p. 341.
- ^ Capra 1971, p. 336.
- ^ Poague 2004, p. 180.
- ^ Capra 1971, p. 429.
- ^ Capra 1971, p. 433.
- ^ Capra 1971, p. 437.
- ^ a b c Medved 1992, p. 279.
- ^ Capra 1971, p. 486.
- ^ Capra 1971, p. 400.
- ^ "LEGENDARY HOLLYWOOD PRODUCER HAD A WONDERFUL LIFE WITH CERES GIRL AS WIFE", The Ceres Courier, January 13, 2016.
- ^ Capra 1997, p. 443.
- ^ "'Marooned'", tcm.com; retrieved September 26, 2010.
- ^ a b c Wakeman 1987, p. 102.
- ^ a b c d e f Wakeman 1987, p. 103.
- ^ a b c d e "The Premiere Frank Capra Collection", DVD Talk Review of the DVD Video; retrieved September 26, 2010.
- ^ Christian, Diane and Bruce Jackson. "The Buffalo Film Seminars: Hara Kari (1962), directed by Masaki Kobayashi", csac.buffalo.edu, February 26, 2008; retrieved September 26, 2010.
- ^ "BAM/PFA Film Programs: Kurosawa." banpfa.berkeley.edu. Retrieved: September 26, 2010.
- ^ Day, Aubrey "Film features: Interview: John Lasseter", totalfilm.com, June 3, 2009; retrieved September 26, 2010.
- ^ Barney 2009, pp. 35, 119, 265.
- ^ "Frank Capra: Hollywood Star Walk." The Los Angeles Times, September 3, 1991. Retrieved: September 26, 2010.
- ^ Dixon 1993, p. 150.
- ^ a b McBride, Joseph (2011-06-02). Frank Capra: The Catastrophe of Success. Univ. Press of Mississippi. ISBN 9781604738391.
- ^ Lambert, Gavin. "Book review: "The World Outside the Pictures: 'Frank CAapra: The Catastrophe of Success'." The Los Angeles Times, May 27, 1992.
- ^ Frank Capra profile, FilmReference.com; retrieved April 15, 2015.
- ^ Brooks 2006, p. 248.
- ^ "75th Year Booklet: The Caltech Y History." caltechy.org. Retrieved: July 24, 2011.
- ^ "Description of the Capra Collection", wesleyan.edu; retrieved March 23, 2010.
- ^ "Preserved Projects". Academy Film Archive.
- ^ Wilson 2013, p. 266.
- ^ Capra, Frank (2004). Frank Capra: Interviews. Univ. Press of Mississippi. ISBN 9781578066179.
- ^ Lazere 1987, p. 178.
- ^ Dickstein 2010, pp. 479–80.
- ^ a b Dickstein 2010, p. 479.
- ^ Dickstein 2010, p. 480.
- ^ Capra 1971, p. 468.
- ^ "Awards granted by George Eastman House International Museum of Photography & Film" Archived April 15, 2012, at the Wayback Machine., eastmanhouse.org; retrieved April 30, 2012.
- ^ a b Capra 1971, p. 488.
- ^ "Talk of the Town." The New Yorker, January 12, 1981, pp. 29–31.
- ^ "Frank Capra shared the 1934 Best Picture award with Harry Cohn, since the 'Outstanding Production' award at that time went to the studio, rather than going to the producers", awardsdatabase.oscars.org; accessed July 28, 2016.
- Barney, Richard A. David Lynch: Interviews (Conversations with Filmmakers Series). Jackson, Mississippi: University Press of Mississippi, 2009. ISBN 978-1-60473-237-5.
- Barson, Michael. The Illustrated Who's Who of Hollywood Directors: The Sound Era. New York: Noonday Press, 1995. ISBN 0-374-52428-9.
- Beauchamp, Cari. Joseph P. Kennedy Presents: His Hollywood Years. New York: Vintage, 2010. ISBN 978-0-307-47522-0.
- Brooks, Patricia and Johnathan. "Chapter 8: East L.A. and the Desert." Laid to Rest in California: A Guide to the Cemeteries and Grave Sites of the Rich and Famous. Guilford, Connecticut: Globe Pequot Press, 2006. ISBN 978-0-7627-4101-4.
- Capra, Frank. Frank Capra, The Name Above the Title: An Autobiography. New York: The Macmillan Company, 1971. ISBN 0-306-80771-8.
- Chandler, Charlotte. The Girl Who Walked Home Alone: Bette Davis, A Personal Biography. New York: Simon & Schuster, 2006. ISBN 0-7862-8639-3.
- Dickstein, Morris. Dancing in The Dark: A Cultural History of The Great Depression. New York: W.W. Norton & Company, 2010. ISBN 978-0-393-07225-9.
- Dixon, Wheeler W. The Early Film Criticism of Francois Truffaut. Bloomington, Indiana: Indiana University Press, 1993. ISBN 978-0-253-20771-5.
- Freer, Ian. Movie Makers: 50 Iconic Directors from Chaplin to the Coen Brothers. London: Quercus Publishing Plc, 2009. ISBN 978-1-84724-512-0.
- Kotsabilas-Davis, James and Myrna Loy. Being and Becoming. New York: Primus, Donald I Fine Inc., 1987. ISBN 1-55611-101-0.
- Lazere, Donald. American Media and Mass Culture: Left Perspectives. Berkeley, California: University of California Press, 1987. ISBN 978-0-520-04496-8.
- Medved, Michael. Hollywood vs. America: Popular Culture and the War on Traditional Values. New York: HarperCollins, 1992. ISBN 978-0-06-016882-7.
- McBride, Joseph. Frank Capra: The Catastrophe of Success. New York: Touchstone Books, 1992. ISBN 0-671-79788-3.
- Oderman, Stuart. Talking To the Piano Player: Silent Film Stars, Writers and Directors Remember. Albany, Georgia: BearManor Media, 2005. ISBN 1-59393-013-5.
- Poague, Leland. Frank Capra: Interviews (Conversations With Filmmakers Series). Jackson, Mississippi: University Press of Mississippi, 2004. ISBN 978-1-57806-617-9.
- Pendergast, Tom and Sara, eds. St. James Encyclopedia of Popular Culture, Vol. 1. Detroit: St. James Press, 2000. ISBN 1-55862-348-5.
- Stevens, George Jr. Conversations with the Great Moviemakers of Hollywood's Golden Age. New York: Alfred A. Knopf, 2006. ISBN 978-1-4000-4054-4.
- Wakeman, John, ed. World Film Directors: Volume One, 1890–1945. New York: H.W. Wilson Co., 1987. ISBN 978-0-8242-0757-1.
- Wiley, Mason and Damien Bona. Inside Oscar: The Unofficial History of the Academy Awards. New York: Ballantine Books, 1987. ISBN 0-345-34453-7.
- Wilson, Victoria. A Life of Barbara Stanwyck: Steel-True 1907–1940. New York: Simon & Schuster, 2013, ISBN 978-0-6848-3168-8.
External linksEdit
Wikimedia Commons has media related to Frank Capra. |
- Capra Smith and Doe: Filming the American Hero from American Studies at the University of Virginia
- Frank Capra at the Internet Movie Database
- Frank Capra at the TCM Movie Database
- Bibliography
- Capra before he became "Capraesque" BFI Sight & Sound magazine November 2010 article on Capra's early career, by Joseph McBride
- "Sentimental Hogwash?: On Capra's It's A Wonderful Life", Humanitas, Vol. XVIII, No's 1&2, 2005
- "The Catholic Vision of Frank Capra", Crisis Magazine, October 2011
- A. J. Mack (January 1, 2001). "Frank Capra". Motion picture director, writer, producer. Find a Grave. Retrieved July 1, 2011.
Video clipsEdit
- 10th annual AFI Life Achievement Award ceremony, 1982
- Frank Capra introduced on YouTube
- Frank Capra accepts Life Achievement Award on YouTube
- Charlton Heston introduction on YouTube
- James Stewart at the "Tribute to Frank Capra" on YouTube
- Bette Davis at the "Tribute to Frank Capra" on YouTube
- Jack Lemmon at the "Tribute to Frank Capra" on YouTube
- Frank Capra receiving Academy Awards on YouTube
- Misc documentaries
- The Fallbrook Story (1952) The Fallbrook Story (1952) - Periscope Films
- The short film Our Mr. Sun (1956) is available for free download at the Internet Archive
- War documentaries
- The short film "Attack! Battle of New Britain (1944)" is available for free download at the Internet Archive Producer
- Frank Capra is available for free download at the Internet Archive
- Frank Capra is available for free download at the Internet Archive
- Frank Capra is available for free download at the Internet Archive Producer
- The short film "The Negro Soldier (1943)" is available for free download at the Internet Archive Producer
- The short film "The Battle of San Pietro (1945)" is available for free download at the Internet Archive Co-Supervising Producer
- Frank Capra is available for free download at the Internet Archive
- The short film "Two Down and One to Go (1945)" is available for free download at the Internet Archive
- The short film "Your Job In Germany (1945)" is available for free download at the Internet Archive
- Movie trailers and interviews
- A film clip It Happened One Night trailer (1934) is available at the Internet Archive
- Mr. Deeds Goes to Town (1936) on YouTube
- Lost Horizon (1937) on YouTube
- Mr. Smith Goes to Washington (1939) on YouTube
- Meet John Doe (1941) on YouTube
- It's a Wonderful Life (1946) on YouTube
- State of the Union (1948) on YouTube
- A Hole in the Head (1959) on YouTube
- Feature films
- Frank Capra is available for free download at the Internet Archive
Audio clipsEdit
Non-profit organization positions | ||
Preceded by Frank Lloyd |
President of the Academy of Motion Picture Arts and Sciences 1935–1939 |
Succeeded by Walter Wanger |