Vintage Movie Resources
Men Behind the Stars — Wesley Ruggles (1938) 🇺🇸
Today, chieftains of the motion picture industry look upon Ruggles as a “super-showman.” He is one of the very few Hollywoodians rating the dual title of producer-director!
Men Behind the Stars — E. H. Griffith (1936) 🇺🇸
Director of “high comedy” such as “Holiday,” “Rebound,” “Another Language,” “Biography of a Bachelor Girl,” “No More Ladies,” “Next Time We Love,” and “Ladies in Love.”
Men Behind the Stars — Hal Mohr (1937) 🇺🇸
From amateur photographer to ace studio cameraman. That’s the record of Hal Mohr, winner of the Academy award last year for his cinematography of “A Midsummer Night’s Dream.”
Men Behind the Stars — John Ford (1936) 🇺🇸
A galloping horse hurled John Ford out of the acting end of the motion picture business and landed him in a director’s chair, where he came up from directing lowly westerns to winning International fame for his marvelous directorial talents and the Academy Award with “The Informer.”
Men Behind the Stars — Mervyn LeRoy (1936) 🇺🇸
Mervyn LeRoy, director of Warners’ coming big film, “Anthony Adverse,” started his motion picture career as an assistant cameraman at the FBO studios, which have since been absorbed by RKO.
Men Behind the Stars — King Vidor (1936) 🇺🇸
A second-hand Ford landed King Vidor and his wife, Florence, in San Francisco with twenty cents in their pockets.
Men Behind the Stars — Frank Capra (1936) 🇺🇸
The spectacular and award-winning production of 1934, “It Happened One Night,” was directed by a Hollywood genius — Frank Capra.
Men Behind the Stars — George Cukor (1936) 🇺🇸
A young man, filled with tremendous force and vitality, but still ranked as one of the most patient and considerate of Hollywood’s cinema-makers, this director makes no secret of his preference for the screen over the so-called “legitimate” stage.
Men Behind the Stars — W. S. Van Dyke (1936) 🇺🇸
W. S. Van Dyke has made a great name for himself as the creator of adventure romances.
The Headline Career of Jean Harlow 1927-1932 (1932) 🇺🇸
Read the life story of Jean Harlow, as told in the headlines and see if you are not amazed that so much could have happened to one girl in such a short span of years.
Leo McCarey — He Directs for Laughs — and Gets ‘Em (1935) 🇺🇸
Leo McCarey, the rollicking, young Irishman who directed “Ruggles of Red Gap,” is described by Charles Laughton as “not only a great director, but the greatest comic mind now living.”
Four Directors Tell What’s Wrong with the Movies (1933) 🇺🇸
Why aren’t there more movie hits ? That’s what Hollywood is asking. And Ernst Lubitsch, Frank Borzage, Cecil B. DeMille and Mervyn Le Roy — all makers of hits — are here to tell why. Listen in and hear some frank talk!
Love Comes to Leslie and Bette in “The Petrified Forest” (1936) 🇺🇸
It’s a strange love story that brings together the stars of that widely discussed film, “Of Human Bondage.”
With Shirley In Kipling’s India (1937) 🇺🇸
Little La Temple had the most fun of her full career while making “Wee Willie Winkie”.
Rosalind Russell — It’s Smart to Be Screwy (1941) 🇺🇸
She’s the sort of girl who was the school tomboy, who at school shouted the loudest. She was the black-stockinged youngster, who, good or bad at them, played all the games with more vigor and energy than the rest of the team. She was the one who never bothered about dental braces or spinach.
Veronica Lake — Nothing To Hide (1941) 🇺🇸
When you see her on the screen, as you will as Sally in I Wanted Wings, you see a long tumble of wheat-blond hair, half-obscuring her right eye, a childish yet age-old swagger to slim shoulders, slight figure, the whole thing as seductive as Eve. This is the youngster, just twenty-one, that Paramount studios slipped into one of the plum roles of the year.
Louise Brooks — Gentlemen Prefer Blondes (1926) 🇺🇸
“Is that so?” ask the challenging eyes of Louise. She has just been chosen as the vamping baby sister whom the gentlemen very frankly prefer — in “Love ‘Em and Leave ‘Em”.
Sessue Hayakawa and Anna May Wong Return to the Screen (1931) 🇺🇸
Sessue Hayakawa and Anna May Wong have been away from American movies for several years — winning stage triumphs in New York and European capitals. They’ve now returned to Hollywood to win back screen honors.
Note: This text was published in 1931 and some readers might find some of the Asian stereotyping offensive.
Humphrey Bogart — Meeting up with a New Menacing Man (1937) 🇺🇸
When an actor steps into the movie spotlight as a gangster, a killer or a villain of darkest hue, it is customary for writers to assure the reading public that in real life he isn’t like that at all; that actually he is as gentle as a lamb, loves little kiddies and wouldn’t harm a flea.