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He recommends spending it on undergarments which last longer than fashion. Is he a millionaire or a pauper? The theme of women, money and self-respect and self-reliance runs as a deep vein of gold throughout his work. There can be no equality until there is freedom from want.
But after the shock of this revelation, mother and daughter are tested to extremes when Vivie discovers that Kitty, now a successful wealthy woman of substance, owns a string of high class brothels from Brussels to Vienna. Her mother is rich and Vivie recoils in horror at the thought that she runs brothels instead of bakeries and wants nothing more to do with her. It took Shaw eight years to get it produced and when it was finally performed in New York in , the actors were arrested for indecency.
So let this unorthodox economics tutoring begin. Painting by Giulio Aristide Sartorio, One last thought or the beginning of many more! She keeps it at separate banking account at a separate bank. Her solicitor is not my solicitor…I have no more knowledge of her income than I do of yours. Imagine for a moment that you received a letter that declared, "You are my inspiration and my folly.
You are my light across the sea, my million nameless joys, and my day's wage. You are my divinity, my madness, my selfishness, my transfiguration and purification. You are my rapscallionly fellow vagabond, my tempter and star. PS - For those of you charmed by Shaw and his thoroughly modern views on women and money--there are more tales where that came from!
If you want to join me for frank and spiritual conversations on money, you can learn more and sign up on our classes page, or by clicking here. I think we are well advised to keep on nodding terms with the people we used to be whether we find them attractive company or not. We forget all too soon the things we thought we could never forget. Recently my daughter surprised me with a box of my old notebooks which had been stored for decades in the attic of her childhood home.
But here was the body of proof: In those days I was working as a legal secretary by day and aspiring writer by night, burning the candle at both ends because I was in my twenties and could, which explains why there are so many Latin legal terms jotted in the margins of my memories. As for all those heartbreaking leaps in the dark, romantic obsessions and daring misalliances, the majority of them have faded in their passionate intensity, leaving only such literary reference notes as a git lower than whale-shite on the bottom of the ocean and His knuckles scraped upon the sidewalk as he tried to walk upright… wisdom gleaned, no doubt, after a few evenings of Margaritas and nachos with sympathetic girlfriends.
Nevertheless, those scribbled passages I did managed to lasso and rope to the page bring me curious wonder. One declaration, in particular, from Saturday, March 29, , could be just fluky coincidence, ornery stubbornness or mysterious clairvoyance, an art I had not yet realized was in my personal bag of tricks:. This year I want to write. A writer is someone who completes the act of writing: One really bad page.
Thank you, Oscar Wilde. What matters is that you do it. Show up on the page and keep a disciplined schedule so the Muse knows where to find you. Then, finish the damn thing, whatever it is. Turn it in and begin another. The dreamer keeping this notebook tells me: Or I think it would, at any rate.
However, she will learn her way, the hard way, the long way, the only way she knows how, on her knees beseeching, Writers Tears on her lips and down her cheeks and falling asleep over the pink typewriter, which explains the black carbon crease on her forehead in the morning. However, forty years later, I can report the results: The first draft of the Irish novel on yellowing, curled foolscap from the Dark Ages, with its one carbon paper copy is in a file cabinet on the way to me from England.
But finally, the most difficult and harrowing lesson of them all: Still, the question that fascinates me today is how did she do it? How did she become a writer? And why did she become a writer? She certainly had no inclination to do so. Her Mother forced her to attend secretarial school to become employable while she took acting lessons. So she went to London to act.
That Swell Dame had charm, she had cheek, she had pluck but she was incredibly shy and the bravado was all show, as her natural inclination was solitary, even reclusive. I guess I could act after all and so I lived in London, Paris and Ireland for another three years writing about fashion and beginning my play on Sarah Bernhardt.
Eventually she came back home and she taught herself to write by reading and studying the most incredible woman writer of her generation, the incomparable and incandescent Joan Didion. Joan Didion burst on the scene in when her first book of essays written for magazines were collected into an anthology called Slouching Towards Bethlehem. It combined the research of journalism with literary technique and narrative storytelling. Joan Didion was revelatory. Joan Didion was unlike anyone I had ever read before or since; she was more a composer creating arias or an illusionist performing sleight of hand magic than a mere journalist using words instead of mystical incantations.
The emotional tension inherent in her sentences suspends the reader on a tightrope of tenacity, intrigue and innuendo. Yet what she does reveal is breath gasping in its piercing honesty that stops you in your tracks. And therein lies the magic. You read Joan Didion and somehow you believe you are reading about yourself.
Just the memory of reading her for the first time while sitting at the bar in a Capitol Hill hangout, the Jenkins Hill Saloon and the flush of excitement she triggered all floods back. I really knew how to treat my girl good back then. But that Sunday, at the bookstore where I picked up my papers, I caught a glimpse of a book called Slouching Towards Bethlehem.
The cover was rather psychedelic and I was most definitely not a flower child, but any book that borrows lines from W. Yeats for its title is by a writer I want to know. And then I read:. It invites you to follow it. To peek around the corner of your life or open an old notebook with a stain on its cover or to starting taking notes. Reading her was effortless, which means, of course, that she worked harder than any other writer in the world.
Writing is not supposed to show. In the marvelous Netflix documentary " Joan Didion: My favorite part of writing is research, and I heard a whisper on the internet that Didion had written a cover story on Jealousy: As to my original thought for this reflection: I recognized a distinct voice in Joan Didion, which was music to my ears.
I realized that music is the mathematics of the spheres. So I would write down a paragraph and then copy it as if I was learning to write for the first time.
Joan Didion confesses that Ernest Hemingway taught her how to write a true sentence. We all learn from someone else. We are never alone as long as we can find beauty and truth in the amazing, astonishing combinations of only 26 letters. Think of that for a moment: The wonder of it all. The magic and the majesty. We are our own Code-breakers. We are our own ciphers seeking our authentic selves.
Copy book after copy book, I wrote out her words in my hand, hearing the cadence, the melody, the harmonies. The intake of breath, the exhalation. I read her out loud. I heard her music. Gradually, I discovered my own beat. I fell in love with the words; I read dictionaries for pleasure.
And by the time I began writing Simple Abundance a decade later, I had found my own voice. No longer a copy or an imitation but now an adagio of solace, one singular sensation, a solo for soul and pen. Why do I write? To find out what I think and feel and know. To lay it all on the line, all of the time.
Because the Great Creator loves a page-turner. For at long last, finally, I have found her. She tells me stories of where we've been and where we're now going--the Territory Up Ahead. I am not alone. She promises she'll always be with me on the page and to keep us company, Joan Didion will be in my pocket.
More notebooks to go through Babe, and more of my favorite women writers to recommend on our journey to Wholeness. Because if you read her once, you will love reading her again. We must learn to live each day, each hour, yes, each minute as a new beginning, as a unique opportunity to make everything new… Imagine that we could live each day as a day full of promises. Imagine that we could walk through the year always listening to a voice saying to us: I originally kept my list on index cards because it was always the most fleeting of moments that ended up being the cheeriest: I could eek out supper from the pantry!
Steady rain, I took a Sunday nap. By searching for the sacred in my ordinary and giving thanks, my optimism returned. In essays, one for every day including leap year! I shared my revelations that came from trying to reconcile my deepest spiritual and creative longings with overwhelming commitments to my family and work, as a free-lance writer. Like millions of women in the s and ever since then, I was frantically multitasking from one obligation to another, moving so fast that my spirit felt as if it was constantly sprinting to catch up with me before I collapsed into bed.
Mornings were a major source of dread; my first conscious breath was a sigh; my awakening thought was how to make it through the day. However, when I started keeping those index cards, I noticed I was waking up a little more hopeful. I became my own science project. Just an experiment, mind you. Collecting quotes had always been a passionate hobby because in my early days as an apprentice feature writer, while I had my opinion on every story, I was considered an amateur whose point-of-view was neither sought, nor appreciated.
So I would find somebody famous, interesting, or historical to express what I was trying to say and quote them and it soon became my style. Believe it or not, the original manuscript of Simple Abundance ended up being pages. With hindsight, when I recall those five years, it seemed that the harder I worked, the luckier I became. Why is it taking so long? My task as I saw it was to keep calm and type on. Later when I could look back on the perils of the page, it was fascinating to make the connection that the more I prayed and the longer I worked, the further I mysteriously moved towards being in the right place at the right time through the mystical chain of chance that eventually led me to having the first of many marvelous conversations with Oprah Winfrey on the miraculous power of keeping a Gratitude Journal.
She had also invited twenty million of her viewers to listen in. Dame Good Fortune found me looking for Her, thank Goodness. A couple of weeks later I had the astonishing joy of waking up on my 49th birthday and walking down the driveway to pick up the newspapers, opening up the New York Times and discovering I was No 1 on the best-seller list. Which is why beginning, especially a New Year is always wonderful. Well, I guess as many fresh starts as it takes to stick, as many times as a champion comes from behind, rolls with the punches, sinks the putt, hits it out of the park or wins by a nose.
As many times as it takes until you realize that endurance now means more to you as the endeavor which got you going in the first place.
Because when you get up again, this time the gloves are coming off, Babe. Now I better understand the ripples of even small choices in the circle of life, the restorative, mystical power of cycles and giving Mother Time the respect and reverence She deserves. The thought boggles the mind.
Put your hand on a hot stove for a minute and it feels like an hour. However, beginning again is the ultimate DIY project for those of us who never thought we would have to begin again at this stage of our lives. Here then, is a conundrum worthy of the Nobel Prize winning physicist Dr. How about we raise a glass of good cheer to living Simple Abundance, not just reading it.
Sending dearest love, blessings of peace and plenty and always, blessings on your courage. I do hope your Christmas has a little touch of eternity in among the rush and pitter-patter and all.
Blessed be, Mother Christmas. Soon the gathering together shall begin in a cyclone of convivial chaos. Mother Christmas arrives, as She always does in the darkness of Christmas Eve whether we are ready or not. After a brief visit of only one day, She will depart. This is why her Gift of Christmas Present is so precious, meant to be cherished and celebrated with custom and ceremony.
What did sweet Mary know that wondrous night? Hopefully and gratefully, the new Madonna knew only the joy of becoming of a mother—which is different for each of us but eternally universal. Her child, safe in her arms. My first Christmas as a new Mother is my favorite Christmas memory. My darling girl was just a few weeks old and I was nursing her by the lights of the Christmas tree.
Suddenly, she paused and looked up straight into the windows of my soul. After the longest stare, she broke into a huge grin. Newborn babies smile instinctively from contentment, but this was her first smile of recognition. Perhaps she was having her first reunion from our past lives. I know I was experiencing my future perfect promise.
My real Christmas miracle: This Babe taught me that what we call a miracle, Heaven calls Love. So I ask you to ponder this tale, as I do each Advent. A frightened teenage girl about to give birth to her first child. No room in the inn. But an older woman who would midwife the miracle that would change the history of the world. Do you really believe that the inn that Joseph and Mary arrived at was accidental?
Forgive me if you must, but I always feel the need to gently point out that on the first Christmas Eve, God the Father was in Heaven.
God, the Great Mother, was on earth. Angels, shepherds, and Magi always get star billing. She gathers in her arms linen and silk, the blankets from her own bed, her favorite shawl.
Sending dearest love and blessings to you and yours and praying that you will discover your own Christmas miracle. While we are all so wrapped up in the presents we are giving to gladden hearts at Christmastime, we might pause to think of that other side of giving that means much more in every home—the giving of ourselves. The Christmas Present, after all, is only a token of our feelings, and more important are the daily contributions we can make to the happiness of those near us.
I was surprised by how little had changed in my emotional response on the annual miracles women of all faiths perform during the holiday season. But December is the month of miracles. The oil that burnt for eight days. The royal son born in a stable. The inexplicable return of Light on the longest, darkest night of the year. Glancing back in a Dickensian kind of way, hovering over the scene with the Ghost of Christmas Past, I can see a mother of a young daughter.
I had been struggling over two years. I was supposed to be a paid working mother and it had been a long time between paychecks. Constant discouragement and I got to know each other very well during that time.
There were also many long, dark nights of the soul when I cried in the shower or into my pillow, trying to keep the self doubt and despair to myself. Then one day Katie asked me if would mail a letter for her, written not to Santa Claus but to Heaven.
Of course, I read it and then promptly posted it in my heart. This prayer is not for me, it is for my Mom. Please Angel, let my Mom get a book contract.
Please talk to the Guardian Angels of the People who decide about publishing …. I was my own Research and Development Laboratory. I knew they were wrong. Guess which one was my choice? Jonas Salk with his polio vaccine. I was in good company. And so I wrote Simple Abundance and beat my own best seller deadline by two months but the creative truth I want to share with you is that Simple Abundance really wrote me.
As I learned how to use the wondrous power of Gratitude, Simplicity and Order to ground me in my daily round, I discovered that I could be open to the spontaneous occasions that revealed Harmony, Beauty and Joy surrounding me. The results seemed miraculous. Or wait it out. Accept things for now. All I have is all I need today, except the realization of how much I have. Now when I think of all the blessings that have arrived in my life wrapped in brown paper and string—as necessities instead of indulgences—it really makes me feel both humbled and incredulous.
Believe me, I never wanted any of those blessings disguised as disappointment and despair. Christmas and great need are inseparable, as intertwined as hope and faith or the holly and the ivy. Some of you, my dearest ones, have been Simple Abundance kindred spirits for many years now. Other readers are new, finding me by happy coincidence or on the recommendation of a family member or friend. So shall we try a little holiday ritual together? But here is a spiritual law and gift for the ages, especially this Christmas Present.
We have to ask before we receive. Good cheer is not limited to Christmas carols but can be made one of our gifts to the family all year round. We can contribute so much to the sense of well-being and of security by our own attitude and actions if we give a little thought to them, a little more thought perhaps than we give to the choice of our Christmas gifts, that we can create that atmosphere in our home.
The things we do and say mean so much more than all the dolls and hobby horses and streamlined electric trains. So today, let us be grateful that through grace, we can live Christmas Present and gift it to others.
So why do we self -consciously shrink from self- admiration? Enquiring minds want to know. I believe that there are three secret wounds to the feminine soul which I explored in my book Something More: Excavating Your Authentic Self: At first you might think that this is not a book for you. So did I, and I was the one writing it. We have none of these problems. We have a beautiful home, a family we adore and work that we enjoy and fulfills us. We grow our own organic vegetables, take our Omega 3, meditate, start book clubs.
We work out five days a week, treat ourselves to low-fat soy sorbet the other two, and then wonder why we're perpetually cranky. So what is the rest of it? This perpetual question distracts and disturbs us and keeps us worn to a raveling. I once made the observation that there is really no wound from which the soul rarely recovers except regret and you know what? It's taken me a heck of a long time to forgive myself and make self-nurturing amends, so if I can help at all, let me know.
That's why I'm here. So just between you and me how about a little chat? To begin with, there seems to be no vein of misery than runs deeper in all our lives than self-avoidance or personal dislike. But this is a fault line that guarantees our failure ever to be truly happy, no matter how much we accomplish or accumulate, or in whose arms we lie. So why do we disapprove of ourselves? Let me count the ways. Self-dislike is an equal opportunity oppressor.
It took me half a lifetime to even discover how much I didn't know. One way we learn how to hide our self-dislike is by putting on our public masks and making sure that everyone else on the planet is happy. First you have to be willing to seek ways of renewal that honor your body and restore it to its rightful place, as the sacred garment of your soul. More often than not, we discover who we are and what makes us genuinely happy through the revelations found in the small the simple, and the common.
In your tiny choices, in what seem like infinitesimal changes. So how do you learn to develop a finely honed sense of self-worth? Give thanks for the Swell Dame within, even if the world calls it self-worship. Pay attention from now on to what excites you, or moves you to tears. Holy rest is an art form. It is the presence of all the sacred pleasures you can partake in: What did your last Sunday look like?
Was it a day devoted to the art form of Holy Rest? Like many women, Sunday has become a day not to slow down but to catch up: However, recently I enjoyed a Sunday to remember with my daughter: I like jump-starting my day with a reminder that I am a spiritual being having a human experience. My favorite teachings are always within reach, right on my nightstand.
The result of her gleanings is a devotional perfectly suited for the nightstand. A lot of books audition for pride of place on my nightstand. But as well as comfort and inspiration, these few books are also chosen for their beauty. There was a whole lot of praising the Lord going on at this Gospel Brunch and it thrilled me with tears of joy and goosebumps.
Pause one day a week for sacred rest, renewal and reconnection. Pause first thing in the morning for loving advice from kindred spirits in The Wisdom of Sundays. Ah, yes, this is honoring the Sabbath. The seventh day when the Great Creator paused after bringing forth the cosmos and then, instructed us to do the same. We have to be willing to open ourselves to the space between the pauses of rejoicing and reconciliation.
The Pause that ends the estrangement between your body and soul. Can you plan to give yourself time off for good behavior? How about this coming Sunday? And have I got a great recommendation for a bit of Sunday reading. Your soul is as unique as your fingerprint. Finding its truest expression is a forever exploration.
And sometimes it helps to have a wise and trusted friend along for the ride. Part of getting over it is knowing that you will never get over it. But frequently when I think of the Swell Dames that I admire, I find myself wondering the same thing. What were they thinking? And what were they feeling as they faced the challenges, crossroads and choices that ultimately changed and shaped the trajectory of their lives?
What were they feeling as they watched their dream house float down the street in a once in a thousand year flood? Because there are no words when sorrow slaps you senseless with a sucker punch. All we know is that we are shocked, stunned, hurt, grieving, and groping with too many unknowns to consider and too many contingencies to handle. But that would be a lie. It was the private messages I really liked—the journals and letters, and autobiographies and biographies whenever they seemed to be telling the truth.
I felt very lonely then, self-absorbed, shut off. I needed all this murmured chorus, this continuum of true life stories, to pull me through.
They were like mothers or sisters to me, these literary women, many of them already dead; more than my own family, they seemed to stretch out a hand. This summer, in a season when I was supposed to be preparing to move by winnowing out my belongings and books to pack, I seem to have done the exact reverse: Unacknowledged grief demands that attention must be paid to its sorrow. However long it takes and at the most inconvenient times.
But we will pay attention. And this is how the dominoes fall: Did you know that just 29 dominoes could knock down the Empire State Building? And that is where my own Swell Dame found me to have a little chat. Setting the dominoes up. It went something like this. Eve never got over losing Eden. But the only way you can move to the future is by being grateful that you once lived in Paradise and you created a beautiful Home there. You can create a new home for us.
There are some things we are not meant to get over. But the Compassionate One has already intervened on our behalf. In Catholic and Eastern Orthodox religions, tears have always been a special gift of the Holy Spirit; in the Hebrew Old Testament, an entire book of the Bible is devoted to crying—the Book of Lamentations. The language of keening is the passionate calling forth of exactly what it is that you dread and fear, to rise up and meet you face-to-face on the scorched battlefield of your devastated heart.
To carry you off the battlefield. To bring you Home. To keen is to embrace those emotions too deep and too dark for words, struggling now for some, any form of expression. To let the sound of sorrow and waves of grief pass through you, picking up tempo and timbre as you go, is like breath on the reed of a woodwind or strings of a violin.
To truly cry takes tremendous courage. A fiery anger wrestles in the pit of your gut; the despair catches in your throat; the fierce loneliness of the iron band of sorrow tightens across your chest. Many of us resist the sacred relief of crying because the truth is, the act of crying physically hurts. But we must trust that it hurts for a reason. We feel so alone. But we must go on, we must take the next step, any step.
Fill an empty box with your cherished books. For the love of all that is holy, do you really believe that God would leave us alone at such a moment? Because how else could we go on? And go on, we must. Heaven knows that I have. Women had a lot to cry about during the Depression and the Home Front years.
Keeping bodies and souls together with a continuous feed of courageous optimism and cheerful vivacity was considered vital to morale. It calls for items you probably have in your refrigerator and cupboard—a cucumber-and-chamomile-tea rinse for the face that I call:.
Puree the cucumber in a blender and strain the juice. Mix the teas together and add the cucumber juice. Stir well and refrigerate for at least half an hour. This mixture will keep a day or two in the fridge. Also have on hand a pitcher of water with cucumber slices and drink from it frequently. Reach for the water first, because dehydration can make you swoon. Princess Diana showed us with her inimitable compassion, courage, charm, sense of duty, style, beauty and kindness how to go on and begin again when real life does not turn out the way we dreamed it would be, especially if you marry Prince Charming.
With the generational gap, we forget that before someone becomes an icon, she was flesh and bone, tears and fears. However, regrettably they will never know or understand why Diana was such a powerful, glimmering Star in the Divine feminine firmament, a woman who became a legend in her own time by revealing her personal vulnerability until it became her greatest strength.
So deep was the bond of compassion she forged with her admirers that her death in August at the age of 36 was a universal bereavement—one that no one who experienced those days will ever forget. They gaslighted her, and they isolated her…Worse, they were jealous…[But] pain made her luminous. She sublimated her lovelessness into acts of humanitarian leadership boosting the efforts of the Red Cross, advocating for others with eating disorders, and ministering to the homeless, to orphans, to AIDS patients, and to the disabled.
Her compassion was real, and the realization of how much her outreach could matter to those she touched gave her a purpose that now propelled her life. Until suddenly, without warning, it was over. Just as she was reaching for another chance at happiness, she was snatched away. Like other shocking events, such as the assignation of John F. The English novelist Mary Stewart asks.
So you try to hold the moment quiet still and not let it move on and show itself. My daughter and I were in Aspen, just finishing a group vacation over Labor Day, That Saturday night, the grown-ups went out to dinner and left the teenagers to babysit. When we returned shortly after midnight, all the children and teens were crying.
Back then, there were no smartphones, Facebook and Twitter so the children had been anxiously waiting for us to come home to share the terrible news together. On the television ashen faced BBC broadcasters were trying their best to deliver the heartbreaking announcement as calmly as possible.
But no matter how it was articulated, it was impossible to process how the most famous woman in the world could die so needlessly and so tragically in a violent car crash in a Paris tunnel relentlessly pursued by the paparazzi.
There were simply no words to express or console. No explanation, no reasoning, no belief big enough to surmount the unfathomable. Where was her protection detail? We now know her last words were: The shock was so staggering and unexpected and so wrong that the world was suddenly catapulted into the anguished realm of the unspeakable.
Like many women around the world, I loved and admired Diana. How could you not? I remember dragging myself out of bed in the wee hours of the morning with a cup of tea and a comforter to the couch in July mesmerized by her romantic fairy tale nuptials.
Lady Diana Spencer was only 19 years and truly the blushing bride when she emerged from the gold and glass carriage, all incandescent innocence. Her beaming radiance beneath her sparking veil bespoke happily ever after. Certainly, especially if the fairy tale was written by the Brothers Grimm.
Did you know that fairy tales were originally meant to scare and frightened little children? They were cautionary tales on how to stay safe in this cruel and dangerous world. While she was desperately in love with Prince Charles, he was pressured to do his duty and get married. And so were ours for her.
On Thursday afternoon, September 4th at 3: Since I was on deadline for Something More , I had only planned to be writing. The next thing I remember, Kate was helping me pack. We threw everything black into a suitcase. A car was waiting to take me to Dulles airport and four hours later I got the last seat on the last flight from the U. When I arrived in the U. I was to walk between the three royal palaces—St. James, Kensington and Buckingham which were now linked by an ocean of flowers.
I remember vividly that London was very hot and the first thing you noticed was the scent of the flowers. An aroma that enveloped you like a hug from an rich aunt who was drenched in too much expensive scent. The fragrance was heavy, humid and mixed with the warmth from the bodies of thousands of people lining every available space. An ocean of saltwater tears were shed on those streets. There were thousands of people walking or huddled in small groups, families holding hands, pushing baby strollers or walking slowly, helping elderly members with walkers or canes.
Later police would say there were over a million people there. Everyone was crying, hugging, saying prayers; there was no pushing or shoving as you might expect in such a large crowd. Everyone waited their turn to lay down their remembrance and everyone was carrying flowers. All the shop windows had been dressed in black crepe, or displayed portraits of Princess Diana and lovely bouquets of flowers. Most shops were closed, except the chemists, food stores, newsstands and of course, florists. The veneer of the stiff upper lip, stoic Brits was completely washed away by a tsunami of anguish that moved from one person to the next.
Complete strangers were consoling each other and waiting. Later that afternoon the Queen would give a live televised speech which was only the second time in fifty years she had done so. After her broadcast, I went back to my hotel and fell asleep. I needed to be up at 4 am and go to Hyde Park and cover the funeral procession and ceremony in Westminster Abbey. There were over , people camped inside the Park in tents and sleeping bags.
Giant screens, the kind used for rock concerts and sporting events had been erected, along with speakers along the funeral route, so that the ceremonies could be televised.
Saturday morning when I arrived at Hyde Park before dawn, there were thousands of little candles flickering in the morning mist. A profound sense of quiet grief hovered in the air. Loosing sail to buntline, making sail, shortening sail and furling; also loose sail to bowline.
This picture is absolutely perfect photographically; also very thrilling, and makes a most interesting subject. It's noted on the Library of Congress's American Memory website that this one was filmed around September to November , with a copyright date of November This minute and thirty-five-second clip shows "the attacking forces drawn up in line of battle.
They immediately commence firing on the shore batteries. The batteries return the fire with telling effect, but are at last silenced by the overwhelming forces of the enemy. In the distance can be seen the ruins of a bridge destroyed by the invading forces. The smoke thickens as the firing becomes general, and the effect is superb. This picture is full of action, also thrilling and very exciting, and every detail is brought out clearly and distinctly.
No further information available. This is a black-and-white short filmed by the American Mutoscope and Biograph Company in Providence in Another silent, black-and-white short from American Mutoscope and Biograph Company. This one was filmed on October 16, The Three Ones was the main fire station for the City of Providence.
Built in on pilings over the Providence River, it was located in Exchange Place today's Kennedy Plaza approximately where the Post Office stands today. The station was torn down in American Mutoscope and Biograph Company silent, black-and-white short. This one was filmed on October 20, , and features a locally famous elephant walking around near Betsy Williams Cottage at Roger Williams Park. In Baby Roger was loaned, at the age of four, to the Providence Zoo by an unscrupulous exotic animal dealer.
In response the children of Rhode Island donated their pennies to the cause and eventually raised enough to keep Baby Roger in Providence.
The elephant, who was named, naturally enough, for Roger Williams, became a much beloved attraction at the zoo. But male elephants become irritable and difficult to control as they get older, and Baby Roger was no exception. In early he was quietly sold. According to wikipedia, he "toured Europe and was killed in Georgia after attacking his keeper and killing a female elephant who was stealing his hay. It probably shows Providence's Westminster Street during a busy time of day. Columbia , designed and built by Bristol's Herreshoff Manufacturing Company , won the Cup, three to zero.
The yachts both pass and re-pass our camera in jockeying for the start, and we present a very close view and a most perfect photograph. The yachts finally make the start upon the firing of a gun and cross the line so close to our camera that we could have 'tossed a biscuit' on the decks of either boat.
Start of Second Race: It shows the complete maneuvers before starting and while crossing the line. The Columbia is seen putting about and executing the wonderful movement of Captain Barr to get into the Shamrock 's wind. The Shamrock crosses the line a few seconds ahead of the Columbia , the Columbia having the leeward position.
The boats were so close and so equally placed as to suggest one great composite single sticker, and Captain Barr cleverly comes about under the Shamrock 's stern and gets across the line just a few seconds before the handicap gun, one minute and thirty-four seconds after the challenger.
On going about the Columbia tacks a distance of about yards from our camera and sails straight at us under a fifteen-knot breeze. The full height of the great mast and sails is over her deck. When she passes our camera she is not more than twenty-five feet away and the movements of the sailors as they scamper over the decks Our cameras are started while they are at a distance of about one-half mile and keep running until they cross the line.
Both boats cross within twenty-feet of our camera and the effect is most stirring and interesting. Starting in the Third Race: The yachts crossing the line in this race follow tactics heretofore unknown in the cup races. As both boats went over the line the balloon topsails were shaken out and the spinnaker sails were set. The yachts were close to our camera when these sails were given to the winds, and the effect is most beautiful and adds one hundred per cent to the picture.
Immediately the spinnakers and the balloon topsails catch the wind the yachts are seen to leap forward in the water as though propelled by steam. Our panoramic camera is here set in motion and the yachts are followed until they have almost passed out of sight.
Turning the Outer Stake Boat: The sailors working at the ropes make a most beautiful effect as the yachts pull about for home and begin the great struggle which ended in the awarding of the cup to Columbia. The Edison Manufacturing Company catalog sez: Shows a roller skater skating at the top of the chute and descending into the pond.
When he strikes the water, a huge splash sends spray high into the air. Shows the boats descending the chutes and skimming over the pond. The spray effects are the best ever recorded in a chute picture. The last thirty feet show a balloon ascension and parachute jump. Sold complete or separate scenes. This silent black-and-white short by the American Mutoscope and Biograph Company shows exactly what the title suggests.
It was filmed on November 23, , and runs about one minute forty-five seconds. Another silent, black-and-white parade clip, filmed on October 3, , by the American Mutoscope and Biograph Company in Providence. Another slice of everyday life from the American Mutoscope and Biograph Company , this one shows workers leaving the factory for lunch on November 23, Hope Webbing was the world's largest manufacturer of narrow woven fabric by , and in subsequent years branched out to produce hundreds of other products from underwear to life preservers.
The company, which is now known as Hope Global , moved to Cumberland in According to the IMDB , this silent, black-and-white clip from the Edison Manufacturing Company shows "the rear view of the Reliance before launching, and also the Sunbeam tender of the Reliance. Scene ends showing the Herreshoff residence and a son of Mr.
Nat Herreshoff playing on the shore. This clip, filmed October 3, , shows a portion of a parade in Providence. One can identify Exchange Place with the train station prominently in the background. American Mutoscope and Biograph Company , silent, black-and-white. This one-minute thirteen-second American Mutoscope and Biograph Company clip shows horse-drawn fire apparatus rolling down a Pawtucket street. It was filmed November 23, This clip may be from the same parade from which Providence Light Artillery was taken.
This is the first known "feature" to be filmed, at least partially, in Rhode Island New London, Connecticut, was another location. The silent, black-and-white, four-reeler, produced by the Solax Film Company, was released November 28, A summary on IMDB describes the plot thusly: The maudlin poem has an old codger prodding his friend, Ben Bolt, to remember their long-ago childhood, and how all the places they remember are changed, the buildings fallen down, their friends dead.
Don't you remember sweet Alice, Ben Bolt, Sweet Alice whose hair was so brown, Who wept with delight when you gave her a smile, And trembled with fear at your frown? Alice was the name of the "prosperous merchant's daughter" from the movie. In the last line of the poem the narrator describes Ben as "Ben Bolt of the salt-sea gale," implying he had been a sailor. Those few lines were apparently enough upon which to hang an entire forty- to sixty-minute tale.
This ten-minute film, one of the holdings of the Rhode Island Historical Society , was shot on June 14, , and documents part of a Children's Day celebration.
The following description is from the RIHS catalog: Waterman and Assistant Treasurer Frank E. Ballou on steps of church. Parade of all the church members coming out front door of church and past the camera.
Pastor Edward Holyoke and Thomas W. Waterman presenting a Loving Cup and bouquet of flowers to Fred C. Lawton on steps of church. Calvary Baptist Church still stands at Broad Street in Providence and has an active congregation. A silent, black-and-white Vitagraph Company of America feature production partially filmed in North Scituate.
It was based on the novel of the same name by Hall Caine , and released March 16, An October 4, , Providence Journal article titled "Making movies while you watch," which documented in detail the process of making a feature-length silent movie, tipped us off to this flick made in Stillwater, Smithfield.
Plot elements of A Factory Magdalen include a "mill superintendent… killed; safe robbed; running battle between sheriff and gang of desperadoes; attempt made to poison a remarkably fine dog; and the hurling of a perfectly lovely girl into the mill stream. We've found everything we wanted—fresh air, great weather, genuine country hospitality and settings—frankly there aren't better settings in the country.
I need an old house, and it's only around the corner. I have a fine scene on a shady road—and the road is less than a mile off.
I want some typical villagers to fill in—and I have to turn 'em away. This picture is a big one, but I've had to hunt less for excellent settings for it than I have for any picture which I have ever prepared for the screen.
At the time the article was written the film had been in production for three weeks. It was released in December At least two Stillwater mills were used as locations.
A screen version of James A. Herne 's popular melodrama of the same name, filmed on Block Island in September In Joseph Byron Totten, an actor, writer, and director, purchased a large farm in Voluntown, Connecticut, not far from the Rhode Island border. Soon he was churning out silent features and shorts, staging them on his farm and in nearby environs, including downtown Westerly, Rhode Island, which he often used for "big city" scenes. One of the first of these features was Alibi Bill , a western based on a play Totten had written for a '13 Broadway run.
They stopped all traffic to look at the made-up actors and actresses. Little did we realize what a tremendous industry motion pictures would develop into Lincoln, and directed by George A. The novel tells the story of three retired sea captains living together in the fictional Cape Cod town of Orham. Realizing that none of them are very good housekeepers, they determine that one of them will have to get married, and so they advertise for a wife.
Events proceed from there. Wanna read the novel? Find it for free on the Project Gutenberg website. An Eastern Film Corporation Production. Not to be confused with the one about the kid who wanted a Red Ryder BB gun. Narragansett Pier is one of the recognizable locations in this crime drama. Management of the theater requested the newsreel as an extra attraction when the venue opened its doors in The print now in the hands of the Rhode Island Historical Society was rescued from Eastern's storage building at Elmwood Avenue by film collector Wallace Tillinghast, who then traded it to Searles.
This was another production, directed by Joseph Byron Totten, that used locations in Westerly. The crew showed up one Saturday afternoon in , and in a flurry of activity filmed a number of scenes at town hall and the courthouse.
The town council chamber doubled as the meeting room of the board of directors of a shoe manufacturing company, the offices of the judge and clerk of the Third District Court were used as lawyer's offices, and the Superior Court naturally hosted a court scene.
Filmed in Providence and Cranston and directed by George A. The studio, "the most elaborate Based on a sea novel written by Cape Cod writer Joseph C. A film copy is available for viewing at the Rhode Island Historical Society Library, but you have to be willing to crank the projector by hand while squinting into a tiny viewer. The story, as best we can make out, concerns two friends, Bradley and Ezra, who are both in love with Clara. The men nevertheless go into the wrecking business together.
They secure a big contract to salvage a sunken barge, but there's a time limit, and the owner of the barge would just as soon the men failed, so he sabotages the partners' schooner with dynamite. Although there are several able-bodied people watching from the shore, Clara is the one with enough presence of mind to rescue the two men from drowning.
Without their schooner, they're stuck for a way to raise the sunken barge, and time is running out. Suddenly someone figures out that with a Nor'easter on the way, the tides will be exceptionally high and low. If they can pump water from the barge during low tide, they should be able to refloat it as the tide comes in. So they try that, and of course it works. The men fulfill their contract and secure their reward, thwarting the rich barge owner.
But what of romance? Bradley is despondent, thinking Clara will surely marry Ezra, until someone points out that when they were drowning, Clara rescued Bradley first.
Bradley goes to Clara and they embrace. Exteriors involving water may have been filmed near a lifesaving station in Newport, but the film is so faded, and the locations so nondescript, that exteriors could have been shot anywhere along the Narragansett Bay shoreline.
The year-old Ocean House and its property were sold in to financier Charles Royce, who had planned to restore the hotel for continued operation. Unfortunately, the cost of restoration proved to be prohibitive, so the building was torn down in The new plan is to replicate the hotel with modern materials and building methods.
The contents of the hotel were not included in the original sale and were auctioned off on November 27, Included among the items for sale were the dozens of wicker chairs that can be seen lining the porch of Ocean House in American Aristocracy. Watch the full fifty-one-minute movie: Filmed partially in Newport. Silent, black and white. An Eastern Film Corporation production filmed in Providence and probably Cumberland, My Lady of the Lilacs is about a poor painter who falls in love with one of his subjects.
Recently restored from a crumbling nitrate negative, this silent two-reeler had its first modern public showing at the Columbus Theatre in Providence on August 14, , the last night of the Rhode Island International Film Festival. The plot involves a love triangle, espionage, and explosions.
Partially filmed in Newport aboard the United States torpedo boat Wadsworth. In the Rhode Island Historical Society received a grant from the National Film Preservation Foundation to restore this film from the original nitrate stock. The plot revolves around a pretty woman and the theft of her jewels. Not to be confused with the film of the same name that is believed to be "the first non-pornographic American film to feature full nudity of a woman.
Some portion of this serial by the Fox Film Corporation was reportedly filmed in Newport. A silent, two-reel dramatization of an O.
We've seen two secondary sources that list this as a Rhode Island film, so it's possible that, like earlier Totten projects, it includes scenes shot in Westerly.
An " overshot wheel " is a mill wheel that is turned by the weight of water falling on it. Scenes for this silent, black and white movie were shot at a private club on Bailey's Beach in Newport. A Providence Journal article pointed out that "cameras of any description are now strictly forbidden" at the club, so this film may be the only way some of us riff-raff can ever see inside.
According to Russell S. Searles in his unpublished manuscript Notes on Movies and Movie Making in Rhode Island , Coronet "produced mainly films of a commercial, documentary, industrial, medical, and scientific nature It was tied in with Educational Pictures, Inc.
Coronet did produce its own films such as Why Providence? Tid Bits , created by a man named Harry W. Smith I am not sure of the initial , had a short screen life. Shown at the Strand Theatre in Providence, it was planned as a weekly news-like release of Rhode Island happenings.
The first issue, known as a split reel feet , consisted of scenes of Fireman's Muster at Crescent Park using antique hand pumpers, a polo match at Point Judith Polo Club, women's latest fashions from Gladdings, and a military funeral for a private killed in an accident at Quonset Training Grounds. At the close of Coronet's short career late '20s , the property, because of its many tanks and vats used in film processing, was well suited to become Stork Diaper Service What a way to go!
Today both sites, Coronet and Eastern, lie buried beneath super highway crossings on Elmwood Avenue. This educational documentary is one of the first such ever made. Typical of its ilk, it features oversimplified animation, lab-coated experts, and well-behaved and inquisitive children. One of the highlights is a visual comparison of an unsanitary outhouse with a sanitary one. The difference, it seems, is a coat of paint.
Co-starring with the hookworms is a ten-year-old boy, who apparently was drafted from the local population. He demonstrates that one way of catching the wily parasite is to run barefoot through the grass. At least some of the scenes, probably those that feature views of the countryside, were shot in Johnston and Hope Valley.
Because of the difficulty of keeping hookworms alive in a non-tropical climate, filmmakers infected a dog and used microscopic views of his blood to show the life cycle of the hookworm. At the conclusion of filming "the dog was etherized and buried in a hermetically sealed container in quick lime" to prevent an outbreak.
By the Providence Journal reported that Unhooking the Hookworm had been translated into nineteen languages and viewed in "scores of tropical and semi-tropical countries in three continents," where it "helped to restore to health thousands whose energy had been sapped by the hookworm.
They obviously need to see this film! A silent two-reel promotional film geared toward economic development, produced by the Coronet Film Corporation in cooperation with the Providence Chamber of Commerce and Town Criers.
At one point in the narrative, a title card proudly notes that "Our state has all macadam or asphalt" roads. This newsreel, photographed by Arthur Rossi, is exactly what the title states, and includes scenes of the dedication of the bridge on October 24, The dedication was attended by Governor Norman S.
Case and Senator William H. Vanderbilt, upon whom were bestowed the honorary titles of Chief Lightfoot and Wanumetonomy by representatives of the National Algonquin Indian Council, who were also present. It begins with Roger Williams, dressed in traditional pilgrim garb, being banished from Massachusetts. He wanders south and meets up with two or three Indians, dressed in traditional Plains Indian dress, and they smoke a peace pipe next to a single teepee.
Having dispensed with the questionable historical re-enactment, we move on to see biplanes taking off from What Cheer Airport formerly located on the Pawtucket-East Providence line and aerial shots of Providence.
We see people hanging out on Narragansett Town Beach. At one point, about the middle, a title card says "Rhode Island isn't just beaches," then they show us several more beaches, including Matunuck Beach, Newport Beach, and Crescent Beach.
It's interesting to see what the State of Rhode Island thought were its best sales features around , and which were excluded. Aside from the error-ridden re-enactment, no real effort is made to take advantage of the state's historic character.
Instead, the emphasis is on modern infrastructure the airport, views of the Providence skyline, the Mount Hope Bridge and access to the ocean.
We've heard that guides for a Providence tour company that shall remain nameless have been telling impressionable tourists that the Industrial Trust Building in Providence is the one the big monkey climbed in the production of King Kong. As any good student of cinema history should know, this is a falsehood. It is likewise untrue that the scene in Ghostbusters with the giant rampaging Stay Puft Marshmallow Man was filmed in downtown Providence. See also The Adventures of Superman.
This documentary series was the Real People of its day, highlighting folks across the country with interesting jobs. Each episode ran about eleven minutes and appeared in movie theaters among other short subjects like newsreels and cartoons before the feature presentation. The series ran from to One episode from features " Nancy Allen , of Cedar Hill, Rhode Island, [who] runs her own volunteer fire department and is the first woman to be appointed a state district forest fire warden.
The musical life story of George M. The opening scenes, showing a noisy parade passing by the Wickenden Street home where Cohan was born, were filmed elsewhere. Won an Academy Award for special effects. Powers and Andrews stayed with a Jamestown family during filming in late July to mid-November American Filmmakers Abroad, , that Crash Dive cinematographer Leon Shamroy was able to wrangle permission to film some final sequences at the Newport Naval Base because of an experience he shared with the officer in charge.
They both were aboard the Empress of Canada in June when a fourth-class passenger went on a stabbing rampage, killing two and wounding twenty-nine [date and number killed and wounded corrected according to June 6, , Lethbridge Herald article.
According to Wikipedia, Tyrone Power was also aboard the Empress during the attack. At first there's tension because Randall has not only attended college, but is rich as well.
Nevertheless, Sandidge helps him get the hang of flying by nagging his ass all over the sky like a mother-in-law in divorce court. One evening, Randall is sitting by himself in a bar with his book way to be, College Boy and Sandidge prods him to ask a woman with aggressively shaped eyebrows to dance.
As they glide about the room, Randall makes awkward conversation with her by asking what the deal is with some random, third guy sitting alone at the bar:. Oh, you can't help knowing. Talks about it all the time. His name is Sanderson. He comes from a little town called Twin Hooks, Rhode Island. From what he says, Twin Hooks, Rhode Island is just about five times as beautiful as paradise.
Seems that Sanderson, the only "Rhode Islander" in this flick, is a big, homesick crybaby. Randall excuses himself from Shapely Eyebrows and moments later calls out to everyone from the bar's phone booth. It's a call for Sanderson. Confused, Sanderson picks up the line. He is so going to get a wedgie later that night. Sandidge is impressed that Randall spent some of his riches to make Sanderson feel better and spends the rest of the film convincing himself that it's okay if Randall and his old girlfriend want to play "hide the turret gunner.
There's no place in Rhode Island called Twin Hooks nor, upon searching, does there appear to be such a place anywhere in the world. Poor Little Rhode Island, The smallest of the forty-eight. You've got no prairie moon For which coyotes croon, But I still think you're great.
You're such a teentsy weentsy Poor Little Rhode Island. Be careful if you're fancy free In Providence one day.
She stole my heart away; I dream of her constantly. Then one day he handed in a very large order from a Mr. So large an order it required an immediate confirmation. It even turned out there was no such town as Big Falls in Rhode Island. The introduction to the book by W. White states that the story was told to the author in the officer's quarters there. Paul from Lincoln dropped us a note to let us know of this film's Rhode Island connections. The story starts while they still lived in Providence.
While I'm not sure if any of the movie itself was shot here, the opening tableau after the credits definitely was. Behind the graphics setting the scene for the movie are the Statehouse and the Masonic Temple before it had noticeably deteriorated. This classic Arthur Miller play has had a number of film and television treatments, of which this production is representative. Oh, the whole block'll be at that game. Did you sell anything? I did five hundred gross in Providence and seven hundred gross in Boston.
Later on in Act One as Willy is having another flashback, he envisions this conversation he had with his boys:. Where'd you go this time, Dad? Well, I got on the road, and I went north to Providence. A few scenes take place at, but were not shot at, Quonset.
The movie opened in Providence with Admiral Hoskins himself, along with Sterling Hayden, the actor who portrayed him, in attendance. She told her mother back in Rhode Island that they were married years ago, because "In Rhode Island, people do not remain engaged for fourteen years. Newport socialite Grace Kelly in her final screen appearance can't decide who she loves, ex-husband Bing Crosby, fiance John Lund, or scandal sheet reporter Frank Sinatra.
Everyone sings and dances as she struggles to make up her mind. The opening aerial views echo those that would be used thirty-four years later in Reversal of Fortune, but soon we find ourselves on a bus with Louis Armstrong, be-bopping down Bellevue Avenue courtesy of rear-projected stock footage.
Louis' ditty sets up the premise of the film:. Just dig that scenery floating by, We're now approaching Newport, Rhode I. We've been, for years, in Variety, But, Cholly Knickerbocker, now we're going to be.
I wanna play for my former pal, He runs the local jazz festival. His name is Dexter and he's good news, But sumping kind of tells me that he's nursing the blues. He's got the blues 'cause his wife, alas, Thought writing songs was beneath his class, But writing songs he'd not stop, of course, And so she flew to Vegas for a quickie divorce.
To make him sadder, his former wife begins tomorrow a brand-new life. She started lately a new affair, And now the silly chick is gonna marry a square.
But, Brother Dexter, just trust your Satch, To stop that wedding and kill that match. I'll toot my trumpet to start the fun, And play in such a way that she'll come back to you, son. As the song ends the bus turns into a driveway.
We've seen at least one source that claims this is the driveway of Clarendon Court Mansion , but unlike Clarendon Court's driveway, which is flat, the driveway in the film curves and slopes. And in any case, when the musicians get off the bus they are obviously standing on a studio set. The only other Newport locations we're able to identify are seen in additional background footage of Bellevue Avenue and Ocean Drive, in a scene where Kelly takes Sinatra for a drive.
An August Providence Journal article pointed out that "although the film involves a society wedding at the height of the Newport summer season, some of the leaves on the trees have fall colors while some trees are already bare; for scenes shot on the MGM backlot, the trees wear green leaves.
True Love, the schooner that was featured in the film Bing and Grace sang and danced on her deck , was restored in and by Midnight Marine Associates of Bristol. A musical documentary of the four-day, July Newport Jazz Festival. The film includes additional footage of the America's Cup Yacht Races, which took place in Rhode Island at the same time as the festival. We thank Bob from Westerly for directing our attention to our first X-rated entry rated X in the United Kingdom, that is—unrated in the U.
Today this version of Lolita would no doubt be rated PG for its content, but in its day, this version of the story of a middle-aged man's James Mason obsession with a year-old girl Sue Lyon was notorious. It remains a difficult story to film: A remake earned an R rating and had a hard time getting distribution.
Bob tells us that, " The train station, a once well-visited Chinese restaurant now replaced by a Mexican restaurant , and men's clothing store still in business , appear prominently. No actors appear; [director] Stanley Kubrick must have used some stock footage to represent Humbert Humbert's [Mason] arrival in a small New England town.
Loren, another alert movie buff, dropped us a line to let us know, "There is actually a scene toward the end of the movie, when Lo and Humbert are traversing the states, in which they take a trip down Memorial Boulevard in Newport just past the Cliff Walk. We've confirmed both these tips.
The Westerly scenes do indeed show up in the first twelve minutes or so at the very beginning of the flashback , and the Newport scene can be found at about the two hour mark as Humbert narrates, "The brakes were relined, the water pipes unclogged, the valves ground.
Joe Jarrett Dean Martin: Oh, I give you a hundred thousand dollars and you'll give me a partner, right? You know in most states I can get a partner for five thousand dollars and they'll throw in a governor. Zack Thomas Frank Sinatra: Of course you must be thinking of Rhode Island. This here is Texas. Includes footage of several Tupperware factories around the world, most notably as far as we are concerned a plant on the Massachusetts border in North Smithfield now known as the Blackstone-Smithfield Industrial Park.
IMBD lists this film as being made in , but posters noticed that the inclusion of a rendition of "Hello Dolly! Festival documents performances at the Newport Folk Festival between and , including the legendary moment when Bob Dylan went electric.
A ten-minute short featuring a soundtrack by John Cage. Probably filmed at the Rhode Island School of Design. This three- or six-hour opus depending on the version you subject yourself to is essentially a compilation of director Jonas Mekas' home movies, including appearances by a host of groovy s icons like Timothy Leary, John Lennon, and Andy Warhol.
Mekas claims the work is meant to be viewed haphazardly, not as a whole, and to that end he thoughtfully indexed every snippet of film for our convenience.
According to that index, Reel Five includes "One Day in Newport," which appears between minutes one and two a short day, apparently. A brief exterior shot was probably filmed in Cambridge, Massachusetts. Captain Davis and several of his crew members appeared as extras.
The star, Cliff Robertson, had his lower leg in a cast for much of the filming and had to be shot from the thighs up. This musical depicts the days leading up to the signing of the Declaration of Independence by the Second Continental Congress in Philadelphia, July 4, Although the other colonies are depicted as having up to three delegates, Rhode Island is only allowed one, in the person of Stephen Hopkins —portrayed by Roy Poole as a loud, unkempt, rum-swilling scalawag.
In real life there was a second delegate, William Ellery. Well, after what Rhode Island has consumed, I can't say I'm surprised. We'll come back to him, Mr. The fake tip "Blue Note in the fourth race at Narragansett" helps set up the big con. Narragansett Park, opened in , was a horse racing-venue located in Pawtucket. It closed in and today a Building 19 occupies the building where racing enthusiasts once placed bets.
This third attempt to translate F. Scott Fitzgerald's classic novel to film relied heavily on Newport locations to portray the world of the wealthy of mids Long Island.
Gatsby hopes he will be able to rekindle a wartime romance with Daisy by showing how he has made something of himself in the intervening years. One of the first scenes is of Nick gamely piloting a small motorboat between sailboats on his way to visit his cousin.
Daisy Buchanan lives in a mansion in fashionable East Egg. In the film the exterior of the Buchanan mansion is only a facade built at Hammersmith Farm in Newport. Hugh Auchincloss, Jackie Kennedy's mother and stepfather, the property also supplied the dock with the flashing green light that Gatsby is so fixated on. JFK docked his boat, the Honey Fitz, there. Interiors for the Buchanan mansion were created at Pinewood Studios in England.
We first see Gatsby as he stands beside a marble arch, gazing out over the water at the green light that marks the Buchanan's dock. The arch was fabricated for the film on the grounds of Rosecliff, on Newport's Bellevue Avenue. The mansion, which stood in for Gatsby's West Egg mansion, was the setting for most of the exterior filming.
The building, owned by the Newport Preservation Society, was closed to the public from April to November for the production. It was there that Gatsby's three parties were staged. Nick's cottage was specially-built on Rosecliff property. The one-story, three-room building contained no basement or bathroom. A bedroom that was meticulously furnished with period furnishings and objects was never actually used in the film.
Trees and shrubs were removed from between the cottage and Rosecliff so that Nick would be able to see Gatsby's parties from his porch.
The same food was used for each of the three Gatsby parties during filming, and as the days passed, the "turkeys, hams, pyramids of roast beef and lamb, trays of unplucked pheasants, lobster trees, chickens, varieties of cold cuts, different cheeses and fruit, trays of cookies," began to rot. To keep it looking fresh, and to keep the bugs away, the prop people coated the food with oil and sprayed it with Lysol.
The food was filmed arriving at Gatsby's mansion on June 25 and 26, The last party scenes were filmed July 10, 16 days later. Rain dogged the production for a good part of the time it was in Newport. Many of the scenes where rain is falling are real. In one case the rain inspired a scene that wasn't in the book—when the guests jump into the fountain and dance. Four rooms on the ground floor of Sherwood Mansion, across the street from Rosecliff, were used for the production offices.
Two classrooms at Salve Regina College were used to house the two thousand costumes that were worn by the actors and extras. The first time Nick is invited to one of Gatsby's parties, he is led by one of Gatsby's thugs to an elevator. That elevator is located in Marble House. Ed himself got to drive it and appear in the film.
Once the awkward reintroductions are made, Gatsby gives Daisy a tour of his mansion. The tricky tracking shot where Gatsby, Daisy, and Nick walk down one corridor, into the room where Klipspringer is, turn the corner into the ballroom and go back parallel to the corridor they've just come up is at Marble House.
A later scene where Daisy caresses the many molds in Gatsby's kitchen was shot in the kitchen at the Breakers. When they dance and reminisce about Louisville, Kentucky, in , that's Marble House again. The brief Louisville flashback was filmed in front of Linden Place in Bristol. At the time it was owned by Jack Colt, the son of actress Ethel Barrymore. Most of the remainder of the interiors—the living and dining rooms of the Buchanan mansion, Myrtle's party, Gatsby's study and bedroom, the basement sportsman's restaurant where we meet Wolfsheim Howard Da Silva , the Valley of Ashes and Gatsby's pool and cabana—were done at Pinewood Studios west of London, England.
The Valley of Ashes set incorporated a leftover piece of scenery from an abandoned production of Cleopatra—a bank of the Nile. This classic fish story of a killer shark that terrorizes a Long Island beach community doesn't have much to do with Rhode Island, except for one thing: This is a barely comprehensible mishmash about a dying writer John Gielgud trying to complete his final novel. During a long night of pain, booze, and nightmares he projects his family into the plot.
The film's title refers to the name of the writer's house, which we see written on a sign on a vine-covered gate at the very beginning on the movie. Also at the beginning, as Gielgud utters "Damn, damn, damn," we see what looks like the towers of Providence's Cathedral of Saints Peter and Paul. A horrible movie, and one which we don't imagine is being touted in tourist brochures for Newport's Rosecliff Mansion or the Elms, where some scenes were shot.
This short documentary about immigrants from the Itri region of Italy was filmed in the Knightsville section of Cranston.
This film's reputation is well-deserved. Overlong at three and a half hours, with a muddied soundtrack and lacking enough story to sustain itself, the opus, some critics claim, is partially redeemed by the cinematography. But we say the whole thing—daytime and nighttime scenes, indoors and outdoors—appears to have been shot through a dusty yellow filter, and you'll be lucky to make it to the end without clawing your eyes out.
At one point Arthur Dudley Moore tries to pass off his hooker date Anne De Salvo as the princess of a small, unnamed country: Rhode Island could beat the crap out of it in a war. That's how small it is. Eighty-five cents in a cab from one end of the country to the other. They recently had the whole country carpeted. This is not a big place. Find it on the Project Gutenberg website. The character of class president Bernadette Felice Schachter wears a Brown University sweatshirt in one scene.
The actress, a high schooler during production, did go on to graduate from Brown in real life. Based on a true story that took place in Brookfield, Connecticut in This black comedy includes 16mm footage shot on Block Island in We're guessing it was from a home movie belonging to someone on the production team. According to the IMDB this one was filmed in Providence, but we've so far been unable to confirm that.
The story is about a rebellious teen-ager Mary Stuart Masterson who's undergoing treatment for cancer and faces a dilemma when she becomes pregnant. Clue II is the sequel to the popular interactive video version of the Parker Brothers board game Clue. The American Hotel scenes were filmed in Newport.
When it came time to make the film version of the novel, Little Compton was initially chosen as the setting, but residents of the bucolic community voted the idea down. They felt that the film's racy storyline had no place in their town. Since this film takes place in Newport in the late s, it features wall-to-wall location footage. Unlike Little Compton with the Witches of Eastwick, Newport had no qualms about hosting a production company; excitement during the summer of was high. While producing the America's Cup coverage for Canadian public television, Steven Haft stays at the Inn at Castle Hill, where Thornton Wilder stayed during his later visits to Newport in the s and '60s.
There, Haft reads Wilder's charming, semi-autobiographical novel Theophilus North and decides to bring it to the big screen. Scores of locals are hired as production assistants, set designers, and extras. Shooting commences in Newport. It's his first feature. Lauren Bacall, who plays Mrs. Mary Street is being used, not only as the wardrobe and production headquarters for the film, but onscreen as well. Lauren Bacall says of Newport, "I adore anything with water.
I can wash pieces of driftwood in the bathtub. John Huston, who was to have played the part of Mr. Bosworth, is stricken by a serious attack of emphysema while en route to the set. The year-old is taken to Charleton Memorial Hospital in Fall River where he is listed in serious but stable condition.
Meanwhile, Danny Huston continues filming at the Breakers. Long-time friend Robert Mitchum flies in that evening to take over Huston's part. Mitchum rehearses from 6: His performance is flawless, partly because, in anticipation of Huston not being able to fulfil his role, he had been given a copy of the script a week before. That night, Mitchum and members of the crew "whoop it up" in town. The ProJo reports that John Huston continues to work on the film from his hospital bed, relaying ideas and advice to his son, Danny, back on the set.
Scenes are shot at the Old Colony House. Washington Square is closed to parking on the sixth for exterior scenes. Needham plays, what else, the judge. Another local with a speaking part, Bethany Nightingale, a professor of theater at the University of Rhode Island, gets to hold up a dollar and say, "Cure me!
Around 2 am, John Huston dies in bed at Sea Meadow, the Middletown home where he was staying during production. Huston is pronounced dead by a local physician, Dr. Thomas Shaw offers the following by way of explanation for Danny's seeming callousness: Have a drink and go on. Sometime between the second and seventh, a chase scene is shot on Thames street, ending up at the harbor.
Newport actor John Chatty was a part of it, and described his experience to a Providence Journal reporter in July They kept reshooting it. You got paid per dunk; they called it fire pay. It was like thirty-five or forty-five dollars a dunk. There were about five of us who did it four or five times, until we got it right.
North premieres at the Opera House in Newport. Reviewers described it as a "gently whimsical," and "literate" movie, distinguished by several excellent performances and evocative s settings. Total chick flick, featuring some of Julia Roberts' biggest hair ever. Shooting took place in mid-October Thanks are given in the credits to the Watch Hill Fire Department.
Most of this was shot in New York City but some second-unit work—involving some stunts with a plane that ends up exploding—was done at the airport at Quonset Point. This is a short film written by Michael Corrente and partially filmed in Providence. The nine-minute thriller was conceived as a vehicle for raising interest in, and funds for, a longer Corrente production called Federal Hill. The venerable music venue Lupo's Heartbreak Hotel was in danger of closing in , prompting owner Rich Lupo to consider creative ways of raising money.
As it happened, the bartender at Lupo's and Rich's old college roommate , Jim Wolpaw, had been nominated for an Oscar for a documentary he directed in So Rich Lupo conceived the idea of throwing a benefit concert that would be documented on film. For narrative interest, a sub-plot about Lupo's closing was woven in.
Such was Rich Lupo's clout that he was able to convince local favorites The Young Adults to have a reunion long enough to be featured in the film. Roomful of Blues , another famous local band, helped fill out the bill. Rich Lupo financed and produced the movie himself, while Wolpaw handled directorial duties. Rich wore yet another hat, playing the character of the Mayor, and his mother, Miriam, played Woman with Handbag.
Guy in Lawsuit was played by local attorney Steve Linder. Rhode Island Monthly reported in June that "Lupo's unfailing belief in the movie—which attracted a national distributor and good reviews and huge debt—only bolstered his reputation in the arts community. Lupo is guarded about the actual losses, but admits he failed to recoup all the costs. At the time of the filming, Lupo's Heartbreak Hotel was located near the southern end of Westminster Street, near Empire.
Despite its legendary status, development pressures in downtown Providence have forced it to move a number of times. As of it's located at 79 Washington Street. Info on this film is extremely scanty. All we know is that it was made by Jamestown resident Craig Richardson who later directed Anima , and it was shot at locations "throughout the state.
It's been years since Christopher saw this film at the Cable Car Cinema Cinema, and the scene he remembers most is the final one with the car hanging from the upturned railroad bridge over the Seekonk River. Christopher also has vague memories of a driving montage in which parts of Providence's downtown are seen. An Internet search scrapes up a few more tidbits of info: Brown University campus was a filming location, as was Babe's on the Sunnyside, a Wickenden Street bar.
This story is about a dysfunctional trio of chickies who move around a lot, because mom Cher pulls up stakes every time life gets uncomfortable. Elder daughter Charlotte Winona Ryder is torn between wanting to be a nun and desperately needing to get laid, while Kate played by a young Christina Ricci has a water fetish that supplies our Rhode Island connection—the second swim meet scene, which takes place in the fictitious Massachusetts town of Eastport, was shot at the indoor pool at William E.
Tolman High School in Pawtucket. Local folklorist Michael Bell was an extra in the audience of the pool scene, maybe six or seven seats away from Cher. He recalls that the director, Richard Benjamin, injured himself on the bleachers and the assistant director had to take over.
Benjamin had been doing multiple takes but the assistant said they were going to do the scene in one take, and they did. Reversal narrates events that took place at Clarendon Court Mansion in Newport in the late s and early '80s.
The only actual location footage is aerial views of Millionaire's Row that are shown behind the opening credits. An independent, black-and-white film that re-explores the familiar theme of the soulless mad doctor and his sympathetic creations, without really covering any new ground.
Filmed primarily at Zambarano State Hospital in Burrillville, in an old tuberculosis ward, and at a seaside residence that may or may not have been located in Portsmouth. Some hospital employees were used as extras. The video copy we were able to view was a rough cut, without credits, and we so far have no evidence the movie was ever released at all.
The company is fictional and the factory in the film was actually located in Seymour, Connecticut it's since burned down. When Larry first shows up at the factory he asks a company employee for Dunkin Donuts , but she replies that she doesn't think there's a Dunkin Donuts in the town—a sure tip-off that the film wasn't made in Rhode Island. At 55 minutes this one's too short for standard theatrical release.
It was filmed at Brown University in Providence and has to do with a overachieving high school student who sneaks on campus to illegally further his education. Keanu Reeves appears onscreen for about 30 seconds. Wind is a fictionalized version of the real life story of American skipper Denis Conner, who lost the America's Cup to Australian Sir Alan Bond in , then won it back for America in When the victorious Australians return, they tie up at Newport's Bowen's Wharf.
The house where they weave the sails is in Jamestown, and the first kiss takes place overlooking Jamestown Bridge. About one thousand "Newport types" were used as extras for fifty dollars a day plus lunch.
The boat still calls Newport its home, and is available for sunset cruises, regattas, and day trips through America's Cup Charters. It would make sense that the scene in question would be the one where Newland Archer Daniel Day-Lewis sees Ellen Olenska Michelle Pfeiffer on the pier, but doesn't speak to her.
Although some of the action of the film takes place in Newport and Middletown, we're not aware of any filming done there. Here's a hard-to-find title.
Since the early days of cinema, Rhode Island has been a prime filming location. Things were a little slow around here filmwise during the s and '60s, but the '90s made up for that, earning our state the sobriquet "Hollywood of the East.".  kwjWXajbWjnQta 投稿者：Archie 投稿日：/10/13(Mon) More or less not much going on worth mentioning. Pretty much nothing seems worth. Download-Theses Mercredi 10 juin