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By Bernard F. Dick

" From Double Indemnity to The Godfather, the tales in the back of a few of the maximum movies ever made light beside the tale of the studio that made them. within the golden age of Hollywood, Paramount was once one of many colossal 5 studios. Gulf + Western's 1966 takeover of the studio signaled the top of 1 period and heralded the arriving of a brand new manner of doing company in Hollywood. Bernard Dick reconstructs the conflict that culminated cut back the studio to a trifling company commodity. He then strains Paramount's devolution from free-standing studio to subsidiary -- first of Gulf + Western, then Paramount Communications, and at the moment Viacom-CBS. Dick portrays the hot Paramount as a paradigm of latest Hollywood, the place the only paintings is the paintings of the deal. Former advertising executives locate themselves in control of construction, at the assumption that any one who can promote a film could make one. CEOs go out in shame from one studio in basic terms to emerge in triumph at one other. company raiders vie for energy and regulate throughout the trading of movie libraries, studio estate, tv stations, booklet publishers, and extra. The background of Paramount is stuffed with larger-than-life humans, together with Billy Wilder, Adolph Zukor, Sumner Redstone, Sherry Lansing, Barry Diller, Michael Eisner, Jeffrey Katzenberg, and extra.

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At the end of the film, as the trio gaze at the New York skyline, Hope says, “Three years and three pictures! ” In the Road movies, nothing was sacred, including Paramount. ” Road to Utopia (1945) offers the ultimate in self-parody when the Paramount logo, the star-spangled mountain, appears like the aurora borealis over the Alaskan snowscape. ” Crosby replies, “Bread and butter? You’re losing your grip. ” Paramount’s ability to see itself with a double vision that mirrored the studio as well as its films is basically a technique deriving from the oldest source of comedy: the incongruous.

He had been a stage actor and had turned to screenwriting; together with Frank Butler, he had written the scripts for the first three “Road” movies: Road to Singapore (1940), Road to Zanzibar (1941), and Road to Morocco (1942). He had also served as associate producer of several Danny Kaye films for Goldwyn. Hartman even dabbled in directing. Although he never was a house director like Mitchell Leisen or Billy Wilder, Columbia hired him for the Ginger Rogers movie It Had to be You (1947); RKO, for the Cary Grant-Betsy Drake comedy, Every Girl Should be Married (1948), and the Robert Mitchum–Janet Leigh yuletide romance, Holiday Affair (1949); and MGM, for the musical Mr.

In Monte Carlo (1930), Lubitsch parodied the conventions of operetta by having the characters attend one that mirrored their own lives. Sometimes art not only imitates life, but unreality mimics reality. In Monte Carlo, the operetta turns in upon itself, uniting the mirror and the spectator, the illusion and the reality, into a single universe where the conventions of the stage prevail as actual modes of behavior—a universe where life is lived as theater. In Sullivan’s Travels (1942), Sturges also tried to combine two worlds: the world of the Warner Bros.

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