By William Darby
This targeted examine of the profession of Anthony Mann argues Mann's prominence and impression along contemporaries like John Ford. Mann (1906-1967), who was once lively in Hollywood and Europe, directed or produced greater than forty movies, together with the autumn of the Roman Empire and God's Little Acre. He was once top identified for his movie noir and westerns and his paintings starring Jimmy Stewart, yet Mann later moved into chilly warfare and epic motion pictures. The publication contains a filmography and 50 motion picture stills and pictures.
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Extra info for Anthony Mann: The Life and Films
The sinister Hilda Blake (Helene Thimig) not only fantasizes that she has a daughter named Rosemary but goes so far as to write letters for the girl and to spend much of her time gazing adoringly at a portrait of this imaginary child. Naturally, she performs these actions within a proverbial “old dark house” in which mirrors abound and the reﬂection of candlelight provides appropriately eerie shadow patterns for Mann and his cinematographer, Reggie Lanning, to exploit. Rosemary’s letters to Marine Johnny Meadows (Don Terry) ultimately boomerang on Hilda when the wounded Guadalcanal veteran shows up on her doorstep looking for her daughter; moreover, this difﬁculty is then quickly exacerbated by Johnny’s meeting and being smitten by local physician Leslie Ross (Virginia Grey) and then learning that there is no Rosemary.
Clearly Mann had learned well from his earlier years in and around Hollywood. Mired in Musicals (1): Moonlight in Havana (1942), Nobody’s Darling (1943), My Best Gal (1944), Sing Your Way Home (1945), and The Bamboo Blonde (1946) Between 1942 and 1946, Mann directed ﬁve B musicals at Universal, Republic, and RKO. While none of them rise above the ordinary, they again show his competence in handling generic pieces. Mann combines the placing of musical numbers with the love triangles and screwball comic turns that mark Hollywood efforts of the time.
Mann and the B Film 43 From left: Dr. Nora Goodrich (Brenda Marshall), Nurse (Mary Treen), and Arline Cole (Hillary Brooke) in Strange Impersonation (Republic, 1946). In Nora’s dream sequence she awakens to discover that her face has been seriously marred in a ﬁre. The scheming Arline feigns concern but soon turns against Mann’s protagonist. characteristically female because he is the ever-solicitous male who consistently accedes to whatever Nora dictates. Their ﬁrst romantic tryst in her lab is initiated when Lindstrom convinces Arlene, the protagonist’s assistant, that he needs something from the library and she obliges by going out for a cigarette.
Anthony Mann: The Life and Films by William Darby