Dallas Film 1950
Spencer Prather
Dallas is a 1950 American Western Technicolor film directed by Stuart Heisler, and starring Gary Cooper, Ruth Roman, Barbara Payton, and Raymond Massey. The film is set in the title city during the Reconstruction Era of the United States.
Blayde "Reb" Hollister is a former Confederate out to revenge himself on a group of carpetbaggers who murdered his family and destroyed their home in Georgia. With the help of his friend Wild Bill Hickok, Hollister's death is faked and he accompanies and swaps identities with Federal Marshal Martin Weatherby. Martin is an inexperienced dude from the Eastern United States, who is using the position of Marshal to impress his fiance Tonia. Her Mexican family is being terrorized by the same gang that murdered Reb's family and terrorized Georgia. Hollister, posing as the dude Martin, protects both men and lets them get closer to the carpetbaggers.
Approximately concurrent with the release of the film and probably (in the tradition of the era) a month or two in advance, Gold Medal Books issued a novelization of the screenplay. Its prolific author, writing under his own name, Will F. Jenkins, would become and remain better known by his alternate by-line, Murray Leinster, under which he is considered one of the essential pioneers of the Golden Age of Science Fiction.
UNT Special Collections holds the complete news archive of NBC 5/KXAS(formerly WBAP), the oldest television news station in Texas. Amon G.Carter, operator of the Fort Worth Star-Telegram and NBC affiliatedradio station WBAP, constructed the Fort Worth television station thatwould run WBAP-TV. The first broadcast of the NBC affiliated newsstation was on September 27, 1948. It was the first television stationin Texas and the only television station in the entire southwest regionof the country.
The NBC 5/KXAS Television News Collection contains historic broadcastfootage, scripts, advertisements, still photography, and research filesdating from 1950 through 2012. Film and video in the Archive remain intheir original physical format, such as 16mm film and obsolete videoformats such as UMATIC tape, making it difficult to view and preserve.Although much of the footage in the Archive has not been seen since itsoriginal air date, nearly 60,000 original broadcast news segments, andover 100,000 news scripts have been digitized and are available online.We are currently scanning footage on an on-demand basis.
The full contents of the Archive can be searched on the NBC 5/KXASTelevision News Collection finding aid, and through a separate NBC5/KXAS Photograph Collection finding aid. Digitized materials from theNBC 5/KXAS Archive can be viewed on The Portal to Texas History.
The first Texas-based motion pictures were made as early as 1921 by a Black film company, Superior Art productions of Houston. Two Black-owned San Antonio film companies, Lone Star and Cotton Blossom, were also active in the early 1920s. Lone Star made four motion pictures in 1922 and one in 1923. Because the films no longer exist and were never copyrighted (the usual source for dating films), which of the four 1922 films was made first is unknown, but we do know their titles: Stranger From Way Out Yonder, The Wrong Mr. Johnson, You Can't Keep A Good Man Down: Byron Smith, Mae Morris, and Frank Brown. The M. W. Baccus Films Company, although White-owned, specialized in making films of interest mainly to African Americans in Dallas in 1922. Its sole known production was entitled From Cotton Patch To Congress. Hit by the Great Depression, the influenza epidemic, and the advent of the more expensive process of making sound films in the late 1920s, the Texas Black film companies and producers of what were then called "race movies" went into oblivion, as did the perishable nitrate-based prints and negatives of their films.
From 1941 through 1947 Alfred R. Sack of Dallas and Spencer Williams, a Black screenwriter-actor from Hollywood, produced ten films in and around Dallas, including two comedies (Juke Joint and Dirty Gertie from Harlem, U.S.A.), two religious films (Go Down, Death!, with Myra D. Hemmings, and The Blood of Jesus), two dramas (Girl in Room 20 and Of One Blood), and a musical performance film featuring Dizzy Gillespie and his Orchestra (Jivin' in Bebop). The films were produced under various company names, such as Sack Amusement Enterprises, which was the main distributor of Black-cast films in the United States between 1920 and 1950, Amergro Films, Sack Attractions, and Harlemwood Studios. Most of the Sack-Williams films have been found and restored by the Southwest Film-Video Archives in Dallas. In the summer of 1983 the last remaining film prints of more than 100 works in the original 35-millimeter format made between the 1920s and the early 1950s were found in a Tyler warehouse. Some of them were intended strictly for Black audiences. Though most of the films in the collection, now dubbed the Tyler, Texas, Black Film Collection, were in various stages of deterioration from nitrate decomposition, several were restored. Of the twenty-two titles in the collection, fifteen had a Black artist as producer, director, or screenwriter, and the majority of those had a Black writer-director or a Black producer-director. See also FILM INDUSTRY.
The focal point of this film season organised by the Museo Reina Sofa and Documenta Madrid is film-maker Billy Woodberry (Dallas, 1950), whose filmography, despite comprising only a handful of works, is striking for its great political and creative intensity. Through his films, Woodberry unearths and probes episodes of history that have disappeared into obscurity, stressing that which official accounts deemed irrelevant to then place them under the spotlight, not solely from activism but also capturing their sensorial and poetic side.
Mrio explores the existential and political journey of a charismatic leader with unflinching resistance who devised a powerful and decisive pan-African theory to liberate different territories, interweaving other major figures such as Antnio Agostinho Neto and Amlcar Cabral. The film underscores the need to forge solid foundations of thought to undertake the struggle and accomplish long-lasting objectives.
The Portuguese Pacification Campaign was documented by Alferes Velloso de Castro, inevitably through a colonialist gaze, in his book A Campanha do Cuamato em 1907: Breve Narrativa Acompanhada de Photographias (Imprensa Nacional, 1908). Using this photographic record of the occupation, Woodbury uncovers the reaction of the Kwamato people to this Portuguese subjugation and conquest and the odd unexpected ally, for instance the nobleman Calipalula, a soba (traditional leader) who joined the Portuguese troops to defeat his rival tribe.
In his debut feature film, Bless Their Little Hearts, Woodberry explores the fractures of an African American family split by the existential crisis of Charlie Banks, whose wife takes charge of keeping the family afloat financially owing to his long-term unemployment. Dependency leads to frustration and opens the wound of his sullied masculinity as he resorts to infidelity as an escape from rage and desperation. A sentimental commotion which reflects the unstoppable spiral of self-destruction of a man tied to outmoded codes and the alienating contexts of the working class in Los Angeles.
Il film, diretto da Stuart Heisler su una sceneggiatura di John Twist, fu prodotto da Anthony Veiller[1] per la Warner Bros.[2] e girato nell'Iverson Ranch a Chatsworth, nei Warner Brothers Burbank Studios a Burbank e nel Warner Ranch a Calabasas, in California,[3] dal 1 maggio a met giugno 1950. Per il ruolo da protagonista erano stati presi in considerazione Errol Flynn, Robert Ryan e Robert Mitchum.[4]
MIMI AND DONA is a personal documentary about my aunt and grandmother. It is also a love story. I set out to make it in 2009, taking an HDV camera from Los Angeles to Dallas to capture the quirky and insular world of Mimi and Dona. Time was scarce. Mimi had finally admitted that she could no longer care for her daughter Dona, and my mother (Dona's sister) had submitted an application to move Dona to a state-run institution in Denton. After 64 years, Mimi would have an empty nest, and Dona would suddenly be on her own.
Now that MIMI AND DONA is finished, I believe we are on the cusp of a crisis with our aging population of people with intellectual and developmental disabilities. A recent article in the LA Jewish Journal states, "Those very parents who refused to go along with the advice of their own physicians to institutionalize their children in the 1950s now find themselves in their sunset years with little help on how to ensure a good future for their adult child with developmental disabilities." This situation plays out in heartbreaking fashion in MIMI AND DONA, making the film a potentially powerful tool in the ongoing dialogue about this issue.
Caleb S. Layton (Richards, Layton & Finger) of Wilmington, Del., George S. Wright and Jos. Irion Worsham of Dallas, Tex., for defendants Interstate Circuit, Inc. and Texas Consolidated Theatres, Inc., Paramount Pictures, Inc. and Paramount Film Distributing Corp.
Hugh M. Morris and S. Samuel Arsht (Morris, Steel, Nichols & Arsht) of Wilmington, Del., for defendants Universal Pictures Company, Inc., Universal Film Exchanges, Inc., Warner Bros. Pictures, Inc. and Warner Bros. Pictures Distributing Corp.
These are companion cases brought under the Sherman Anti-Trust Act and the Clayton Act.[1] A detailed statement of the nature of the actions may be found in an earlier opinion of this court, reported in 80 F. Supp. 800.
It may be sufficient here to state that in each case the plaintiff was a resident of Texas. There are 14 corporate defendants, ten of which are Delaware corporations and four New York corporations doing business in Delaware. It appears that nine of the defendants are doing business, and hence to be found, in Texas, but that five defendants are not amenable to process in Texas.
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