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Without this man Hollywood would not exist! "[Keith] pulls back the curtain to tell the true story behind the foundation of perhaps the most famous city in the world​.
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Hollywood fell in love with the “Rosary priest,” beginning with its biggest star, Loretta Young.

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Father Hollywood | National Catholic Reporter

Films like Up and E. Looking beyond family films, fatherhood has taken some hard knocks lately on the big screen. The hit remake Clash of the Titans is all about a mythic hero with an absentee father in heaven, Zeus. Both characters are widowers, to begin with — no fault of their own, surely, but it would be a melancholy thing if fathers appear at their best only where there are no mothers.

He is strong but gentle, self-sacrificing but not emotionally demonstrative, adored by his children but somewhat distant. As an idealistic lawyer, Atticus embodies the principles and ideals of society while at the same time taking an enlightened stand against the entrenched bigotry of his time and place. He parents by example, modeling upright, responsible behavior while also standing between his children and the cruelty of the world they live in. Unlike other cinematic widower fathers, Atticus shows no interest in remarrying.

Through his dedication to his children Atticus has transcended the personal need for a wife. Captain von Trapp in The Sound of Music is a more typical Hollywood widower father, one whose fatherhood is incomplete and defective without an appropriately complementary maternal presence. The humbled, chastened spirit with which he finally accepts and rejoins the harmonious spirit that Maria brings to the house indicates that this kinder, gentler paterfamilias is his true self — a self he lost with the death of his first wife, and recovers only through the intervention of an appropriate mother figure.

Hollywood’s Humble Origins

The s are popularly remembered as the age of the omnipotent patriarch. Westerns like Broken Lance and The Big Country depicted ruthless, domineering patriarchs whose ways have become obsolete and must be rejected by the next generation. Carl Fredrickson in Up was modeled after Tracy.

Both Father films were remade in the s with Steve Martin as George Banks; Martin also played a new kind of archetypal father in films from Parenthood to his remake of another s film, Cheaper by the Dozen , and its sequel.

Father Hollywood

Comparing and contrasting Tracy with Martin, then, offers an interesting benchmark in how fatherhood has changed over the years, at least in Hollywood imagination. Ellie now eggs Stan to question Buckley about his financial position; when he initially resists, she even accuses him of being afraid of confronting the boy.

The film thus divides parental foibles, not necessarily evenly, between both parents.

A Cold Call to Bing Crosby and a Radio Program Begins

In the remake, by contrast, George Banks bears the entire burden of parental angst and absurdity alone. This selfish squabbling provokes exasperation from Kay at both of her parents. In the remake, George is the only one unreasonably exempting his own favored guests from the chopping block that he mandated in the first place. Stan turns out to be rather a garrulous old fool, and a bit overfond of drink.

The Story of Sam Horvitz, the Second Father of Florida’s Hollywood

His concerns about Buckley turn to affectionate approval principally because Buckley is a polite listener. Meeting the in-laws for the first time, embarrassingly, Stan becomes tipsy, erratically voluble and finally somnolent.

Father Of The Bride 1991 HD Full Movie (the first one)

Such social gaffes would apparently have been too tame for the first visit to the in-laws in the remake. Such abject humiliations far exceed anything that Stan is subjected to in the original. In the original, Stan not only accomplishes nothing toward the reconciliation, but very nearly delays it by trying to bundle Buckley out the door before Kay witnesses his contrition and changes her mind. In the remake, after Annie refuses to see Bryan, George takes him out for a drink, and despite contemplating maneuvering Bryan into giving up finds himself prodding Bryan and Annie back together again.

They also play two-on-two, Annie with Bryan and George with his young son. Would the respectable patriarch of the s film have played sports even with his boys? The decades between the two films have obliterated such precepts of decorum. The archetypal Hollywood father has always been a good man, but he is not always the most manly man.

He needs a certain strength, but his masculinity is of a caring, domesticated sort.


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The toughest breed of masculine strength belongs to the lone man — ideally the lone hero, but sometimes the lone villain. The most difficult variation on the theme involves films like to Yuma and Cape Fear that pit the father against a tougher, more virile rogue who cheerfully puts the family man to the test like a boy pulling wings off flies. These last two films offer interesting illustrations of cinematic fatherhood, for two reasons.