State of the Union (film)State of the Union is a 1. Myles Connolly and Anthony Veiller of the Russel Crouse, Howard Lindsayplay of the same name. Directed by Frank Capra and starring Spencer Tracy and Katharine Hepburn, the film is Capra's first and only project for Metro- Goldwyn- Mayer. The screenplay, about a man's run for president, abandoned the play's more controversial themes. Republican newspaper magnate Kay Thorndyke (Angela Lansbury) intends to make her lover, aircraft tycoon Grant Matthews (Spencer Tracy), president with her as the power behind the throne. Thorndyke plans to use her newspaper chain's influence to deadlock the 1. Republican National Convention, so it will choose Matthews as a compromise dark horse candidate instead of Thomas E.

Dewey, Robert A. Taft, or former MN Governor, Harold Stassen. Matthews is skeptical of the idea of running for president, but Thorndyke, Republican strategist Jim Conover (Adolphe Menjou), and campaign manager Spike Mc. Manus (Van Johnson) persuade him to run.

Recently, I came across the book by Nebraska Sen. Ben Sasse, a first-time elected office holder, titled "The Vanishing American Adult: Our Coming-of-Age Crisis and.

State of the Union is a 1948 drama film written by Myles Connolly and Anthony Veiller of the Russel Crouse, Howard Lindsay play of the same name. Directed by Frank. Orange County's source for local news and information. The story I am about to share with you does not come without a lot of thought and prayer. For quite some time I have felt God pressing on my heart to share my story.

Matthews reunites with his estranged wife, Mary (Katharine Hepburn), for the campaign. Despite knowing about Thorndyke and her husband's affair, Mary agrees to support him in public because of his idealism and honesty, and because she is unaware of Thorndyke's role in the campaign. The politically naïve Matthews makes a controversial speech in Wichita, denouncing big labor. Before he makes another controversial speech in Detroit denouncing big business, Thorndyke secretly persuades him to moderate his tone to help his chances for the nomination. With her and Conover's help, Matthews makes deals with various special interests for their support.

Watch Moonlight online for free, Moonlight trailer, casts, summary and reviews. Watch Moonlight full movie online on ChiliMovie. L.A. Times entertainment news from Hollywood including event coverage, celebrity gossip and deals. View photo galleries, read TV and movie reviews and more. Grace Patricia Kelly was born on November 12, 1929 in Philadelphia, Pennsylvania, to wealthy parents. She was the daughter of Margaret Katherine (. SO. So the word that received the most nominations this year was already banished, but today it is being used differently than it was in 1999, when nominators were. Looking back at where "Will & Grace" left things with its series finale in 2006, we have some questions about the show's return. Watch Macbeth Streaming.

At a nationwide fireside chat from the Matthews' home, Mary learns of Thorndyke's continuing relationship with her husband and discovers the deals that he has made. Matthews realizes that he has betrayed his and Mary's ideals. While promising to seek bipartisan reform, he denounces as frauds both his backers and himself on live radio, and withdraws as a candidate. Matthews also asks for his wife's forgiveness. When his backers attempt to turn off the speech, he angrily calls out, "Don't cut me off, I paid for this broadcast!"Production[edit]Actress Claudette Colbert was originally cast as Mary, the wife of Grant Matthews; disagreements with Capra led Colbert to abandon the picture.[5] Hepburn was chosen as her replacement only days before filming began. She had been helping Tracy with the script, and so was already familiar with the part.

There was tension between Adolphe Menjou and Hepburn during the filming, as he was a member of the Mc. Carthyist group Motion Picture Alliance for the Preservation of American Ideals and she had allied herself with the rival Committee for the First Amendment.[6][Note 1]In order to cast Metro- Goldwyn- Mayer contract player Tracy in the film, MGM bought the distribution rights to State of the Union. While most of the major actors in the film were under contract to MGM, Capra's own company, Liberty Films produced the film.[8]State of the Union was originally budgeted at $2. Principal photography took place between September 2.

December 6, 1. 94. Reception[edit]The State of the Union was critically reviewed by Bosley Crowther in The New York Times. He noted: ".. regardless of partisan reactions—and there are bound to be plenty of those, in view of the frank and intensely topical nature of the yarn—it cannot be denied that this picture which Frank Capra has made from the popular Lindsay- Crouse stage play, is a slick piece of screen satire."[1. Shortly after completion, the State of the Union was screened exclusively for President Harry Truman and reportedly helped convince him to run for office again.[1.

Home media[edit]Capra bought the rights of State of the Union after its initial theatrical release. After Capra's company folded, Liberty Films' assets were acquired by Paramount Pictures. It has since had limited availability on VHS and Laser. Dischome video and until recently has been unavailable on DVD. EMKA, Ltd./Universal Television currently owns the rights to the film due to it being a part of Paramount's pre- 1. Universal Studios Home Entertainment released a DVD version on August 2.

See also[edit]References[edit]^The conflict between Menjou and Hepburn was enough to compel Capra to keep media from the set.[7]Citations[edit]^"The Eddie Mannix Ledger." Margaret Herrick Library, Center for Motion Picture Study (Los Angeles).^Brady, Thomas R. Hollywood thrift: Capra saves on 'State of the Union'." The New York Times, February 1. X5.^ ab. Curtis 2. Top Grossers of 1. Variety, January 5, 1. Scherle and Levy 1.

Mc. Bride 1. 99. 2, p. Mc. Bride 1. 99. 2, pp. Watch Turbo Online Mic.

Capra 1. 97. 1, p. Original print Information: 'State of the Union'."TCM. Retrieved: February 5, 2. Crowther, Bosley. State of the Union,' with Tracy and Hepburn, makes bow at the Music Hall."The New York Times, April 2.

Alldredge, Charles. Film that changed history?"Variety, January 5, 1. Bacharach, Phil. "Review: 'State of the Union'."DVDtalk, August 2. Retrieved: February 5, 2. Bibliography[edit]Capra, Frank. Frank Capra, The Name Above the Title: An Autobiography.

New York: The Macmillan Company, 1. ISBN 0- 3. 06- 8. Curtis, James. Spencer Tracy: A Biography. New York: Alfred Knopf, 2. ISN 9. 78- 0- 0. 91.

Mc. Bride, Joseph. Frank Capra: The Catastrophe of Success. New York: Touchstone Books, 1. ISBN 0- 6. 71- 7. Scherle, Victor and William Turner Levy. The Films of Frank Capra. Secaucus, New Jersey: Citadel Press, 1.

External links[edit].

Exploring Johnny Depp’s Fall From Gonzo Grace. Remember when Johnny Depp was cool?

Take your time. Perhaps you haven’t seen true Depp coolness since 2. George Jung biopic “Blow,” which saw the actor strut through an airport to the tune of Ram Jam’s “Black Betty.” Or maybe your last dose of genuine Depp mystique came from 2. Once Upon a Time in Mexico,” in which the third- billed (!) player stole the spotlight as a blinded CIA agent, who used a young boy as his seeing- eye shooter (“Send him to fucking Broadway,” went the still- rebellious star’s most memorable line). But odds are the last time Depp charmed you with his powerhouse, offbeat allure was at the close of that very same year, when his rollicking, frolicking turn as Captain Jack Sparrow in the first “Pirates” film had him swimming in the uncharted waters of awards- season politics.

At the time, Depp seemed to be at the core of a holy trinity, which united populist filmgoers, Depp’s semi- cult fanbase, and the uppity members of the Academy, who, in giving Depp his first- ever Oscar nod for his leading “Pirates” role, not only showed an unlikely embrace of a major Hollywood blockbuster, but extended an olive branch to a man who’d long been a free- thinking industry outlier. Ten years later, that triumphant, please- all convergence feels less like a career peak for Depp than the inaugural nail in his credibility’s coffin. It has been followed, in large part, by a monotonous string of redundant roles in marketable tent poles, nearly all of them a franchise kick- off, blockbuster sequel, or reboot of an established brand. The parade of mega- budget fare, which has serially featured Depp’s go- to directors like Tim Burton, Rob Marshall, and Gore Verbinski, has shown the actor descend from androgynously handsome chameleon to punchline- happy self- parody. Directed by Verbinski in his fifth Depp collaboration, this week’s “The Lone Ranger” may just mark this decade- long cycle’s nadir, with Depp—as a Native American in whiteface, to boot — doing such a mechanical riff on his Jack Sparrow schtick that saying he chews the scenery would be hyperbolic praise. Regrettably, watching the movie comes with quite a sting, as not long ago, Depp seemed like everyone’s favorite near- the- fringes actor to love. The aughts may mark the decade in which Depp rose to global hitmaker, but the nineties hold his real cache of gems.

That’s where you’ll find his more tactile, evocative and homespun Tim Burton unions, like “Edward Scissorhands,” “Ed Wood,” and even “Sleepy Hollow,” which, for all its failings, remains a gorgeous production with an untethered Depp as finicky Ichabod Crane. It’s where you’ll find John Waters’s “Cry- Baby,” John Badham’s underrated “Nick of Time,” the beloved and unassuming “What’s Eating Gilbert Grape?” and Terry Gilliam’s “Fear and Loathing in Las Vegas,” a mad curio of a drug flick if ever there was one, with Depp taking on his first Hunter S. Thompson text. Fittingly, the nineties also house Jim Jarmusch’s black- and- white, quasi- elliptical western “Dead Man,” which is, in virtually every way, the antithesis to “The Lone Ranger,” made for roughly four percent of the new film’s $2. Jake Cole at Film.

Native Americans in an exceedingly better light, with less catering to white guilt and more shrewd, knowing winks. Looking back, although Jack Sparrow is the one big character of Depp’s new era that he originated, and didn’t revive from known, pre- packaged material (there was no Jack Sparrow in the theme- park ride on which “Pirates” is based), even his fate- changing 2. Money. However indelible Depp’s initial “Pirates” performance was, and however glowing the reviews, you can be sure that a major factor swaying Academy voters was the $6. The Curse of the Black Pearl.” Prestige came in the afterglow of Depp’s Oscar citation, including another Best Actor nod the following year for the snoozy “Finding Neverland,” but what also came was the start of a gross and boundless influx of dough, predominantly thanks to the wholesome folks at Disney. According to a Vanity Fair article published in the fall of 2.

Depp was the highest- paid actor on earth, an epic gross- profit- sharing deal Depp brokered with the studio netted him roughly $3. Pirates” franchise’s $3. The coddling puff piece also quotes Depp as saying that the “stupid money” is “ultimately for the kids” he had with ex Vanessa Paradis, a sentiment that seems as vulgar as it does disingenuous, since the next 1.

Depp generations could sit on their thumbs if the “Pirates” series died tomorrow. Next: Could Depp reclaim his power? Which, of course, it won’t.

Pirates 5” is already in the works, with “Kon- Tiki” directors Joachim Rønning and Espen Sandberg at the helm  (because, ya know, they can make films at sea), and Depp, says the rumor mill, collecting something in the $1. But, really, there have already been a bounty of unofficial “Pirates” sequels sprinkled throughout the last 1. Sparrow spawned a character template to which Depp and the studios have rigidly adhered. Whatever auteur qualities a director like Burton used to have, he’s sold out as much as his once- freaky man muse, repeatedly coaching him in the same formulaic, Sparrow- like mode, with grotesques like Willy Wonka (“Charlie and the Chocolate Factory”), The Mad Hatter (“Alice in Wonderland,” which is also sequel- bound), and Barnabas Collins (“Dark Shadows”) reiterating the same over- the- top humor that was once mere subtext in Depp’s work. One of the more intriguing things about Depp’s otherwise un- intriguing career is that he currently seems to stand as a link between Hollywood’s decline of star- driven vehicles and its dependence on brand recognition.

As most recently evidenced by the overall flop of A- Lister Will Smith’s “After Earth,” the model of banking a blockbuster on a major celeb is no longer Tinseltown’s modus operandi, and pushing known products, as we learned from high- earners like “The Avengers” and “Man of Steel,” is the new way to play. This was highlighted by producer Linda Obst, who, in a recent chat with New York magazine’s David Edelstein, noted that the industry’s obsession with text familiarity comes down to foreign markets like China, which are currently providing 8. Watch Ooops! Noah Is Gone... Download Full. American icons they already know and love. Among these American icons? Superman, Batman, Spider- Man, and — thanks to a few high- seas adventures — Johnny Depp.

This explains why “Dark Shadows,” a film that performed rather poorly in the U. S., wound up second behind “The Avengers” in international sales, and why “The Lone Ranger,” whose titular character isn’t even played by Depp, is poised to perform well overseas too.

Chinese viewers may not know or care about a resurrected sixties vampire soap opera, or a decades- old cowboys- and- Indians tale that’s unequivocally American, but they know Depp’s face, and they’ll shell out the cash for his brand. Depp may contend that the “stupid money” he’s basking in is “just for the kids,” a catch- all excuse he could use to cover any future skepticism about his earnings, but when unsavory headlines surface, like his recent exit from the Whitey Bulger mob movie “Black Mass,” it’s near- impossible not to raise an eyebrow. Depp reportedly walked because he won’t accept any less than $2. Black Mass” budget (early word is that Joel Edgerton has stepped in as a replacement). The worst of it all is that, lately, it seems that even if Depp wanted to, he couldn’t go back to the kind of actor he was. Most of his films from the past 1.

Sparrow formula, from “The Libertine” to “The Tourist,” have been financial, critical, and audience failures. And even the Hunter S. Thompson- derived passion project “The Rum Diary,” funded by Depp’s highfalutin production company Infinitum Nihil (which, with its implications of “infinity” and “nihilism,” carries grim connotations about what’s to come), yielded one of Depp’s poorest showings on every front.