By Jamie Cloud Eakin
Beading with Cabochons КНИГИ ; ХОББИ и РЕМЕСЛА Автор: Jamie Cloud Eakin Название: Beading with Cabochons Формат: pdf Размер: 24,1 МбBeading_with_Cabochons_by_Jamie_Cloud_Eakin.pdf 24.10 Mb eighty five
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Keaton’s character may work in a small town movie theater, but he has hopes of greater things, which is why the film opens with him reading “How to Be a Detective” while his boss expects him to be sweeping up the place. For all the originality that is to come, Sherlock Jr. starts in an ordinary way, with a small skit in front of the theater involving not one or two but three different people searching for a dollar in the trash Keaton is sweeping up. As with Max Davidson, repetition was counted on to add to the laughter.
The decision to base it on the life of Clara Bow gained force when the project was joined by director Victor Fleming, who once dated the silent star, and Harlow, who’d had an uncredited bit in The Saturday Night Kid (1929). Yet because Harlow was in the cast, it was inevitable that the film would consciously invite comparisons to her career as well. It was Clara Bow who let her Great Danes have the run of the house (Lola Burns had similarly misbehaving English sheepdogs), but it is Harlow’s celebrated platinum hair that’s being referenced when an admirer says with a remarkably straight face, “Your hair is like a field of silver daisies.
One of the theories advanced was that Nicholas Schenck and Louis B. Mayer, the Jewish executives who ran MGM, the distributors of Hal Roach Studio films, came to be embarrassed by what they considered ethnic stereotyping. Roach himself told film historian Richard W. ” For whatever reason, in 1928, the same year Pass the Gravy appeared in theaters, Hal Roach Studios ended Davidson’s contract, and his road to oblivion began. If Pass the Gravy, successful in its day, is now largely forgotten by the general public, the opposite is true of Keaton’s Sherlock Jr.