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Samuel Grosvenor Wood (July 10, 1883 – September 22, 1949) was an American film director and producer who is best known for having directed such Hollywood hits as A Night at the Opera, A Day at the Races, Goodbye, Mr. Chips, The Pride of the Yankees, and For Whom the Bell Tolls and for his uncredited work directing parts of Gone with the Wind. He was also involved in a few acting and writing projects.

As a youth, Wood developed an enthusiasm for physical fitness that persisted into his senior years and influenced his interest in making sports-themed films.

Wood advanced from making largely competent yet routine pictures in the 1920s and 1930s to directing several highly regarded works during the 1940s at the peak of his abilities, among them Kings Row (1942) and Ivy (1947).

Wood's quick, efficient and professional execution of his film assignments endeared him to studio executives, and though not a "brilliant" director, Wood's legacy represents "a long and respectable film career."

Early life and family

Samuel Grosvenor Wood was born on July 10, 1883, in Philadelphia, Pennsylvania, to William Henry Wood and Katherine (née Corn) Wood. He attended M. Hall Stanton School. One of Wood's daughters, born Gloria Wood, was film and television actress K.T. Stevens.

Early career in Hollywood

When Wood turned 18 years old in the summer of 1901, he and a companion began a year-long trek across the United States, ultimately arriving in Los Angeles, where Wood embarked on a successful career as a real estate broker. By 1906, the then-primitive film industry in Southern California enticed Wood to gain entrée into the nascent industry by acting, adopting the screen name "Chad Applegate." He carefully concealed his (then regarded) ill-reputed avocation from real estate associates and clients.

In 1908, Wood married Clara Louise Roush, who encouraged her spouse to commit to a career in film. Spurred by a collapse in the real estate market, Wood obtained work as a movie production assistant and, by 1914, was serving as an assistant director to Cecil B. DeMille. During the next five years, Wood contributed to the manufacture of hundreds of movies shorts as an assistant director, mostly for Paramount Pictures.

Directorial debut: The Wallace Reid films, 1920

At the end of 1919, Wood won his first assignment as director in the Paramount feature Double Speed, the first of five films he was paired with screen star Wallace Reid, all of which were filmed and released in 1920. Wood demonstrated efficient and effective direction that made him attractive to Paramount executives. The success of these hour-long action comedies were highly praised by production head Jesse Lasky for their "assembly line" output and profitability.

Actor Reid, injured during a shoot in 1919, suffered from chronic pain that he treated with morphine. (A functioning addict during his collaboration with Wood, he would die in 1923 at the age of 32 due to complications related to his addiction.)

Despite the outstanding success of his Reid features, Wood expressed a desire to work on other projects. Paramount, "perhaps as a sign of displeasure" obliged Wood by demoting him to their subsidiary movie unit, Realart, a venue for the production of low-budget "routine programme pictures" that offered little in the way of substance. Wood endured the assignment, making four films at Realart, starring Ethel Clayton and Wanda Hawley, all filmed in 1920. Wood's perseverance at Realart earned him a reputation as a reliable studio asset.

The Swanson-Wood pictures, 1921-1923

Paramount's appreciation for Wood's "fast, efficient" delivery of film products and his excellent rapport with his cast and crew landed him the honor of directing their recently acquired actor Gloria Swanson in her first starring vehicle, The Great Moment (1921). DeMille, whom Wood had served as an assistant director from 1914 to 1916, and Swanson, a close personal friend to Wood, each influenced Paramount's choice.

With the popular success of The Great Moment, co-starring Milton Sills (in one scandalous scene, he sucks rattlesnake venom from Swanson's chest) Paramount proceeded to finance nine more Swanson-Wood collaborations over the next two years, beginning with Under the Lash (1921) and finishing with Bluebeard's 8th Wife (1923). Cameraman Alfred Gilks photographed all ten of the productions. During the Wood-Swanson series of films "the costume department broke all records for Hollywood lavishness..."

Wood's pictures included an array of scenarios and settings, providing abundant opportunities for Swanson and her leading men to "besport themselves in a variety of period costumes" (e.g. Beyond the Rocks (1922) with Rudolf Valentino), and to appear in the "daring modern clothing" of the Jazz Age (e.g. Prodigal Daughters (1923) with Ralph Graves). Swanson's silent film career was significantly enhanced by these Wood productions. However, In 1923 by mutual consent, Swanson and Wood agreed to conclude their collaboration.

Sam Wood and Swanson "had clearly found the formula for success in these romantic comedies of marriage and intrigue laced with a series of handsome leading men and a never-ending parade of fabulous gowns."

Principal Pictures and Irving M. Lesser, 1924-1925

In late 1923, Wood's relationship with Paramount began deteriorating due to his discontent over the quality of his project assignments. Wood completed the "heavy-handed morality tale" His Children's Children at the end of 1923, and only made Bluff (1924) with Agnes Ayers under protest due to his low appraisal of Ayers' star potential.

Wood accepted two offers from producer Irving "Sol" Lesser of the newly formed Principal Pictures to make "a most unusual film", The Female (1924), set in the South African Veld starring Betty Compson, as well as a Western and Wood's first effort in this genre, The Mine with the Iron Door (1924) with Dorothy Mackaill. Wood consented to make another film with Dorothy Mackaill for Paramount in The Next Corner (1924) that despite its "expensive production values" was burdened with a "meager plot". Wood and Paramount reached an impasse when he refused to direct another Agnes Ayers vehicle. Wood was officially suspended from Paramount and the other major studios for a year.

Sol Lesser at Principal Pictures reached out to Wood to direct a film version of novelist Harold Bell Wright's The Re-Creation of Brian Kent, a soap opera. When Wood's adaptation proved a box office success, Paramount executives sought to lure Wood back to the studio, bestowing on him a lavishly financed production, Fascinating Youth (1926). Wood completed the "light comedy" but remained convinced that he had no future with Paramount and successfully arranged for a release from his contract.

Wood's separation from Paramount proved to be fortuitous for the director. Indeed, it was "a major turning point in his career." In 1927, he briefly directed films for Cole-Robertson Pictures, a small Boston outfit, and simultaneously negotiated a long-term commitment to Hollywood's dominant studio, Metro-Goldwyn-Mayer (M-G-M).

Harold "Red" Grange and the Cole-Robertson Pictures, 1926-1927

Robertson-Cole Pictures (soon to be the Film Booking Company, F.B.O and later associated with RKO Radio Studios) instantly picked up the now available Wood. Production manager Joseph P. Kennedy had famous sports hero "Red" Grange under contract and Wood, a gridiron enthusiast, welcomed the opportunity to deliver a compelling football story, One Minute to Play (1926). Wood directed Grange a second time in a small epic honoring horse racing. Emphasizing the virtues of the sport rather than the less than impressive acting performance by Grange, A Racing Romeo (1927), completed Wood's duties for Cole-Robertson.

Metro-Goldwyn-Mayer (M-G-M), 1927-1939

Wood's first two assignments for M-G-M, Rookies, with Karl Dane and George K. Arthur, and The Fair Co-Ed with Marion Davies were comedies, both made in 1927, earning him a long-term contract with the studio for whom he would almost exclusively make films for over ten years.

Wood proceeded to bring his signature speed and efficiency to M-G-M, directing their top stars and supplied with screenplays "of the slimmest material": Norma Shearer in The Latest from Paris (1928), William Haines in Telling the World (1928), the Duncan Sisters (1929) in It's a Great Life and in his first sound film in 1929, introduced actor Robert Montgomery.

Wood was renowned for consistently delivering his features "on time and on budget", but these virtues, which pleased the Front Office, "militated against his getting worthier assignments."
Two more comedies followed in 1930, The Girl Said No and They Learned About Women, the latter with a baseball theme and a sentimental vehicle starring German actor Louis Mann in a fine performance, and with co-star Robert Montgomery.

Wood directed silent matinee idol John Gilbert in a maritime romance-adventure Way for a Sailor, a vehicle that the actor hoped would redeem his reputation in the emerging "talkies". Gilbert was poorly cast as a tough seaman opposite Wallace Beery. Legend has it that M-G-M's studio chief Louis B. Mayer was complicit in miscasting Gilbert in a virile role that did not suit his image, and Wood failed to salvage his performance. Concentrating on action scenes depicting high seas shipwrecks and rescues, Wood invested Way for the Sailor with no more than a measure of realism.

Silent movie flapper and rising talkie star Joan Crawford was paired with Wood for Paid (1930), a crime drama that benefited from Wood's "taut" execution and Charles Rosher's cinematography,

Wood followed with two less fortunate assignments and the last two of the four features he would make with William Haines: A Tailor Made Man and New Adventures of Get Rich Quick Wallingford, both 1931. Haines would subsequently retire from acting to become a successful interior decorator. Wood finished off the year by directing his final and successful film with Robert Montgomery, The Man in Possession, a "knockabout comedy."

Ramon Novarro: Huddle and The Barbarian, 1932-1933

The 1932 Huddle was another opportunity for Wood to demonstrate his talent for presenting American collegiate football. Madge Evans appears opposite leading man Ramon Novarro, a silent era star who struggled to make the transition to sound films.

In a bid to revitalize Novarro's career, M-G-M tasked Wood with filming a remake of the "romantic-exotic" silent era success The Arab, originally filmed by director Cecil B DeMille in 1915 starring Edgar Selwyn, and in 1924, starring the then 25-year old Navarro, both carrying the same title. Wood remade The Barbarian with emerging film star Myrna Loy as the object of Novarro's affection, who steals her from fiancé Reginald Denny in this cinematic ally "attractive minor package".

Prosperity (1932) and Christopher Bean (1933): Marie Dressler

A former star in stage and Vaudeville, the 62-year-old Marie Dressler and co-star Wallace Beery scored a huge financial success for M-G-M, with the 1930 Min and Bill, directed by George Hill, earning her an Academy Award for Best Actress. Wood directed Dressler in this fast-paced light comedy Prosperity (1933), about a small-town bank president (Dressler) who spars with her provincial neighbors and patrons. Wood was reunited with Dressler in 1933 to make Christopher Bean, a light burlesque on the humorous aspects of greed.

Hold Your Man (1933): Jean Harlow and Clark Gable

Wood served as both producer and director on Hold Your Man, a dual role that he did not relish within the "assembly-line" organization that prevailed in the major studios of the 1930s.
The assignment, however, was a promotion for Wood, providing him with the opportunity to make a crime-romance that is "sentimental, cheeky, wise-cracking" and as always "swiftly paced" and featuring two of M-G-M's top stars of the period, Jean Harlow and Clark Gable.

After finishing his two Dressler features, Wood made the second of his three films with Myrna Loy, Stamboul Quest (1934), a spy-romance set in Turkish Dardanelles during World War I. Loy plays a Mata Hari-like character pursued by counter-spies and her devoted swain George Brent. Wood enjoyed the services of James Wong Howe's expert cinematography.
During Wood's decade-long tenure with M-G-M, he made only one film for another studio, Edward Small's Reliance studios. Let 'Em Have It (1935) stars Richard Arlen in an Underworld vs. G-man themed story that Wood attempted to add substance by including sequences describing U.S. Department of Justice's modern crime-fighting methodology.

Irving Thalberg and The Marx Brothers, 1935-1937

In 1935, head of production for M-G-M studios, the highly regarded Irving Thalberg, hired the comedy team The Marx Brothers who had made five career-defining movies films at Paramount Pictures, but whose dispute with Paramount over unpaid monies as well as the tepid box office of their now-classic "Duck Soup" (1933) resulted in their 5-picture contract not being renewed. Thalberg, in offering them a film contract with M-G-M, demanded a significant degree of control over every aspect of the project. To this the Marx Brothers acquiesced. Zeppo had left the team in 1934 to focus on other business ventures and the trio now consisted of Groucho Marx, Harpo Marx and Chico Marx.

Thalberg's decision to approach Wood to direct the Marx Brothers would mark a "turning point" in the director's professional career. Now in his late forties and "largely undistinguished" during the silent era (though exhibiting "unexpected moments of genius") Wood was regarded as one of M-G-M's "top men."

A Comedy Magnum Opus: A Night At The Opera (1935)
Initially skeptical about undertaking A Night at the Opera, Thalberg assured Wood that a coherent film structure would be imposed to incorporate love interests and musical numbers, alternating with the Marx Brothers' comedy creations. Wood's masterful control over the screenplay and cast served to integrate these elements into the film. Historian John Baxter observes that:

Wood's "perfectionist" approach to shooting A Night at the Opera involved daily reviews of the footage and editing the scenes, a process that guaranteed reshoots that "endangered the spontaneity of the humor." Wood's often tedious approach to re-filming key Marx Brothers scenes placed a strain on cast and crew that Wood addressed with good-natured blandishments.

The enormous success of A Night At The Opera ensured that a sequel would be made, but Thalberg had declared a temporary moratorium in order to increase interest in the public for the anticipated feature. Wood was designated in advance as its director.

While Paramount planned the next Marx Brothers comedy epic, Wood was occupied with a two-picture assignment. The first was Whipsaw (1936), a romance-crime drama with Myrna Loy and Spencer Tracy. The shooting included a brief clash between Wood and Tracy, the actor rebelling against the director for being "too meticulous". Wood's second effort was a "slick and glossy melodrama" with "M-G-M's stylish trimmings" with Loretta Young and Franchot Tone and a fine supporting cast: The Unguarded Hour (1936).

A Day at the Races (1937)

The Marx Brothers arrived for the filming of A Day at the Races having tested new routines at burlesque venues, and Thalberg and Wood were prepared to use this material to emulate the profitability of A Night At the Opera. Shortly into the filming, Thalberg unexpectedly died, at thirty-seven, from pneumonia, a loss that left Wood personally shaken. Wood proceeded with the picture, adhering to the formula that balanced the "romance and musical numbers" with the fulsome humor offered in the Marx Brothers sequences.

Final years at M-G-M, 1937-1938

After the success of his two Marx Brothers features, Wood requested and was awarded more substantial stories and scripts from M-G-M. Wood furnished the studio with "good pieces of entertainment" in his next four works "but nothing memorable".

Navy Blue and Gold (1937): Here Wood returned to collegiate athletics, endowing this "light comedy" - starring James Stewart, Robert Young and Tom Brown—with a "rousing" Army-Navy football game. Florence Rice provides the love interest.

Madame X (1937): A popular stage play by Alexandre Bisson that enjoyed numerous film adaptations until 1966, Wood directed Gladys George as the long-suffering mother who sacrifices for her children. Biographer Tony Thomas reports that the actress was one of the rare cases in which Wood developed a personal dislike for a player.

The novel spans the life of an English school master Robert Donat whose lonely and inhibited existence is transformed through the love of his understanding spouse Greer Garson into a good-natured pedagogue beloved by generations of his students. Wood's direction of Donat was painstaking in its precision, a role that required the actor to portray his character in youth and old age (in four stages, at twenty-four, forty, sixty-four and eighty-three years-of-age). An inherently touching tale, Wood demonstrated his restraint in telling the story convincingly without lapsing into sentimentality. Actress Greer Garson made her Hollywood debut with Goodbye, Mr. Chips. Just days before "the still uncast" actress was to return to Great Britain after M-G-M had withdrawn her film option, Wood by chance saw her screen test and quickly informed M-G-M that he wanted her to play the role of Katherine.

Goodbye, Mr. Chips won Donat a Best Actor Oscar, and Wood received the first of his three Academy Award nominations for Best Director. Upon his return from England, Wood determined he would end his long association with M-G-M, confident that he could thrive by offering his services independently to any of the major studios.

Gone with the Wind (1939)

Wood's parting assignment under M-G-M was to take over the filming of Gone with the Wind when the director Victor Fleming collapsed during shooting and did not return to the studio for a month. The film epic was based on Margaret Mitchell's popular novel set during the American Civil War. Fleming received screen credit for directing the film, though the precise contribution by Wood, as well as that of several other contributors, including George Cukor, Leslie Howard, David O. Selznick, and William Wellman has not been fully documented. A number of uncredited cinematographers also shared in making the picture, among them Joseph Ruttenberg, Wilfred Cline and Lee Garmes, who often worked "at first units located on widely separated locations".

Other than overseeing the vast operations at the movie's multiple venues, Wood with certainty filmed the entire sequence where Scarlett O'Hara (Vivien Leigh) shoots a Yankee bummer (Paul Hurst) who broke into the plantation household. Wood also personally handled some of the scenes that depict wounded Confederate troops at the Atlanta train depot, Whatever way the attributions are allocated, the collective efforts of the cast and crew produced "a remarkable film."

Our Town (1940)

Now operating as an independent agent, Wood was instantly offered the option by his former associate and producer Irving "Sol" Lesser to adapt Thornton Wilder's play Our Town. Wilder's Pulitzer Prize-winning play had first been staged on Broadway in 1938, and was "not the kind of vehicle that 1940 Hollywood would have been expected to produce", but Lesser was determined to bring the "unusual" qualities of the work faithfully to the screen.

Wilder worked closely with both Wood and Lesser to help preserve the qualities of the stage production by retaining narrator Frank Craven, who on-screen observes the lives of two rural families in New Hampshire near the turn of the 20th century. Lesser and Wood convinced Wilder to permit one major alteration in his allegorical play: Emily Webb, played by Martha Scott, does not die in childbirth, but only in a dream sequence, a re-write that Wilder admitted was preferable in a cinematic treatment of his work. The atmosphere of the picture was enhanced by the simplicity of the scenery conceived by set designer William Cameron Menzies and by the haunting musical score by American composer Aaron Copland. The excellent supporting cast, including Fay Bainter, Beulah Bondi, Thomas Mitchell and Guy Kibbee contributed to the Our Town nomination for Best Picture.

Kitty Foyle (1940): Ginger Rogers

Based on a Christopher Morley story entitled "Kitty Foyle: The Natural History of a Woman", Ginger Rogers plays the working class protagonist who struggles to choose between two men in a love triangle.

Wood approached the filming of Kitty Foyle with immense care, delineating camera orientation, a precise script and "notes on interpretation" to achieve the "utmost clarity." However implausible the narrative of the love story, Wood maintained his signature control that balances the film's "tenderness and intelligence" with a firmness of direction that avoids sentimentality. The director was emphatic in his disdain for over-acting: "I find [over-acting] unforgivable because it destroys realism. I don't allow scenery chewing while emoting." Wood received the second of his three Academy Award Best Director nominations for Kitty Foyle and a nomination for Best Picture. Ginger Rogers won for Best Actress.

Wood returned to Paramount Pictures to make an action-packed Western that borders on a burlesque of the genre, Rangers of Fortune (1940). Starring Fred Macmurray and Gilbert Roland with supporting cast Albert Dekker and Betty Brewer. The madcap escapades of these desperadoes stop short of "buffoonery" when Wood applies his story-telling skills to assert his "sense of balance...one of the most valuable assets" that Wood possessed as a filmmaker.

The Devil and Miss Jones (1941): Jean Arthur, RKO Pictures

Wood opted for RKO Pictures to film Norman Krasner's original screenplay The Devil and Miss Jones, a comedy starring Jean Arthur and Charles Coburn. Frank Ross, Arthur's husband, produced the picture. The stars delivered superb performances in a "social satire" that pits a department store saleswoman-cum-strike organizer (Arthur) against the Scrooge-like owner (Coburn). As with most of Wood's work, consistency, pace and balance characterized his expert handling of the story and script.

A collaborative masterpiece: Kings Row (1942), Warner Brothers

After a protracted struggle to formulate a screenplay satisfactory to censors at the Hays Office, Wood and Warner Brothers commenced to film Henry Bellamann's grim and anti-nostalgic novel of American small-town life: Kings Row.

Wood's "discipline as a story-teller" was essential in conveying to the screen Kings Row "troubling message without sacrificing its integrity."

The high quality of Wood's directorial performance was augmented by three of Hollywood's finest professionals in their fields: Set designer William Cameron Menzies, cinematographer James Wong Howe and composer Erich Wolfgang Korngold, collectively creating a film of "classical proportions."

Biographer Tony Thomas offers this appraisal:

The Pride of the Yankees (1942): Sam Goldwyn and RKO
When beloved baseball player Lou Gehrig of the New York Yankees died, aged thirty-seven in 1941 of ALS, a fatal neuromuscular disorder, Wood determined that a film biography was in order. The career of the "modest and likable" Gehrig spanned 17 years (1923-1939), during which he played more than two thousand consecutive games.
Though idolized by his fans, Wood met with resistance from studio executives to a project that was likely to appeal to only half of the American demographic: male sports fans. Wood, an ardent sports enthusiast, was able to sway producer Sam Goldwyn to sponsor the film, and they both agreed that the picture would be an "ideal vehicle" for Gary Cooper, "a kind of idealization of the American male", and significantly, under contract to Goldwyn, to whom Cooper owed one more film.

An avid outdoorsman, Cooper was virtually ignorant of baseball as a professional sport, but complied with his contract. Wood's encouragement and support for Cooper served to create a satisfactory portrayal of Gehrig, matching "the perfect actor with the perfect director" assuring the film's success.

While filming on set, Wood was initially dismayed at what at first appeared to be Cooper's inept acting. Upon reviewing the actual footage, Wood was relieved and pleased to discover that Cooper's "underplaying" translated effectively to the screen.

Cooper was nominated by the Academy of Motion Pictures Arts and Sciences for Best Actor, and the film earned nine more nominations, including Best Picture. The Pride of the Yankees remains "one of the best and most popular screen biographies as well as the quintessential baseball movie."

Even as Wood was filming Kings Row for Warner Brothers in 1941, he began working on his major project for Paramount: an adaption of novelist Ernest Hemingway's For Whom the Bell Tolls. Wood proceeded to shoot numerous landscape scenes in the High Sierra Nevada range before the cast for the movie had been selected. Production on the film was set aside when Wood made The Pride of the Yankees for Samuel Goldwyn, and only returned to For Whom the Bell Tolls when that project was completed.

For Whom the Bell Tolls (1943), Paramount Pictures

Wood's 1943 For Whom the Bell Tolls was "the major project of [his] career." Adapting Ernest Hemingway's Spanish Civil War epic had a personal and political significance to Wood, identifying as he did with Hemingway's idealistic protagonist Robert Jordan and the Republican cause for which he fought.

Paramount Pictures' casting of the doomed hero was a foregone conclusion, as the book's author, Hemingway, had his friend and actor Gary Cooper in mind as Robert Jordan when he conceived the story. Cooper was conveniently already under contract with the studio and owed producer Sam Goldwyn one more film. Wood was obliged to complete Pride of the Yankees (1942) before could commit himself fully to For Whom the Bell Tolls, already under production since late 1941.

Wood favored ballet dancer and actress Vera Zorina for the role of the young guerrilla fighter, Maria, an opinion that was at odds with Hemingway and as well as members of "Wood's own family." During shooting on location, Wood realized his error when Zorina did not take to the part, and Ingrid Bergman, who had coveted the role, was auditioned after completing her role as Ilsa Lund in director Michael Curtiz's Casablanca (1942), and winning "the coveted role."

Audiences and critics felt "the love interest was over-played" in For Whom the Bell Tolls at the expense of clarifying the political issues that defined the Spanish Civil War: a brutal and violent struggle between fascist and anti-fascist forces.

Wood was undoubtedly disappointed when "the major project of his career" did not garner him an Academy Award nomination, an honor that was bestowed on his cinematographer Ray Rennahan, his set designer William Cameron Menzies, musical director Victor Young and his four leading cast members, with Katina Paxinou winning Best Supporting Actor in her role as the revolutionary matron Pilar.

Filmed shortly after the United States entered World War II, the government placed wartime limits on Hollywood's access to new building materials. To obviate these restrictions, Wood chose to do most of the filming outdoors at the picturesque Sonora Pass in the Sierra Nevada range. Wood recalled the ordeal of filming For Whom the Bell Tolls:

Though For Whom the Bell Tolls did not achieve the critical success that Paramount had anticipated, Bergman and Cooper, who recognized the potential of their film pairing, followed Wood to Warner Brothers to star in a Western romance Saratoga Trunk (1946).

Saratoga Trunk (1943, released 1945), Warner Brothers

Warner Brothers sought to exploit the "exciting potential" of a Bergman-Cooper pairing in Saratoga Trunk (1945), an "expensive and lavish" production that did not live up to expectations. (The "Trunk" refers to the Saratoga Trunk Line, owned by a railway baron played by John Warburton) Though filmed in early 1943, the picture was not given general release until early 1945, initially presented only to US servicemen stationed overseas during the war.

Wood's direction of Saratoga Trunk lacked his characteristic celerity and its "languid" tempo earned the film only an "admirable but dull" rating by critics, despite its "rich production values." The director of Hollywood's Production Code Administration, Joseph Breen registered some distaste for the characterization of Clio Dulaine (Ingrid Bergman) as a mixed-race (half-Creole) courtesan who seeks matrimony with wealthy white gamblers and capitalists. The only acting Academy Award nomination went to British actress Flora Robson, who wore blackface makeup to portray the mulatto servant Angelique Buiton.

A commercial failure, Saratoga Trunk did not diminish the mutual esteem which Cooper and Wood held for one another. Their next feature was decidedly not of the epic-heroic proportions of their three previous collaborations, but a light comedy: Casanova Brown.

Three Comedies: Casanova Brown, Guest Wife and Heartbeat: 1944-1946

Wood continued his collaboration with Cooper in a comedic vein after the delayed release of Saratoga Trunk with International Pictures' Casanova Brown (1944), a vehicle intended to appeal to female movie patrons. Cooper absconds with his own infant daughter from a maternity ward in order to prevent his former wife offering the child up for adoption. Wood's situation comedy was no more than a moderate success.
Wood followed with Guest Wife (1946) starring Claudette Colbert and RKO's Heartbeat (1946) starring Ginger Rogers.

A cinematic "trifle" largely carried by the virtues of star Colbert, Guest Wife also benefits from Wood's expert handling of his cast, "a talent in itself." Biographer Tony Thomas summarizes Wood's approach to controlling his actors:

Wood rejoined Ginger Rogers after their success in the romance Kitty Foyle (1940) to film a remake of French director Henri Decoin's 1939 Battement de coeur, in Heartbeat. The Dickensian theme features Rogers as an Oliver Twist-like character who enlists to serve the Fagin-like figure (Basil Rathbone) as a pickpocket. The picture would have been better served is Wood possessed "the sly touch of a Guitry or a Lubitsch" rather than Wood's obvious humor.

A "Gaslight Noir": Ivy (1947), Universal-International Pictures

Based on a short story by Marie Belloc Lowndes set during Great Britain's Edwardian era , this 1947 melodrama is considered by some critics, but not universally, to be "a minor cinematic masterpiece." Wood's crime-noir stars Joan Fontaine as the "ruthless" and scheming social climber whose homicidal deed leads to her sordid demise.

Ivy was essentially a collaborative effort between director Wood and producer and renowned set designer William Cameron Menzies, who also served as producer on the picture. Wood and Menzies had worked splendidly on a number of projects including Gone with the Wind (1939), Our Town (1940) and For Whom the Bell Tolls (1943). The fine rendering of the British upper-class milieu is attributed largely to the uncredited Menzies, although screen credit went to Richard H. Riedel.

Photographed "lovingly" by cameraman Russell Metty, Fontaine's Orry-Kelly wardrobe reduced the actress to a "gorgeous artifact" and she complained later that director Wood neglected to develop the potential dramatic complexities of her character.

Biographer Tony Thomas sums of Wood's directorial effort on Ivy:

Command Decision (1949), M-G-M

An adaption of the William Wister Haines World War II drama published in 1947, Wood's portrayal of the "anguish of wartime aviation command" is "unembellished" by any combat footage and shows fidelity to the novel of the same name.

The film's depictions of the military establishment during wartime balances "the devious expediency and opportunism" inherent to high command with "the heroism and heartfelt concern among various militarists and politicians." The film's scenario offered Wood the ideal platform on which to demonstrate his "thoroughly masculine and no-nonsense style of filmmaking" delivered by an all-male cast who represented officers and men from the U.S. Army Eighth Army Air Corps, played by Clark Gable, Van Johnson, Walter Pidgeon, Brian Donlevy and Charles Bickford. Biographer Tony Thomas describes the picture as "fairly honest in revealing the almost dehumanizing function of operating a modern war machine."

A key sequence from the film, developed specifically for Clark Gable (who served as an air force combat officer during the war) and well-executed by Wood, portrays his character, Brigadier General K.C. Dennis, in his dramatic "talking down" of a crippled Flying Fortress attempting to land.

Sports biography redux: The Stratton Story (1949), M-G-M

Wood returned to his sports métier when he was tasked with directing the story of Chicago White Sox major league pitcher Monty Stratton. One of baseball's youngest and foremost pitchers, Stratton lost a leg to amputation after a hunting accident at age of twenty-six. Director Wood expertly recounted the athlete's struggle to adapt to the use of a prosthetic and return to professional baseball in the minor leagues. An inherently "maudlin" tale, Wood presented the events without succumbing to sentimentality: "it told a true story, and kept to the facts…"

Actors Van Johnson and Gregory Peck were considered for the role of Monty Stratton, but M-G-M settled on James Stewart, the actor Stratton himself felt would portray his life most effectively.

Contrary to conventional wisdom among Hollywood studio executives that sports features were "box-office poison", The Stratton Story was "the sixth-biggest theatrical draw of 1949 and Stewart's first bona fide hit since his return from World War II."

Ambush (1950), M-G-M

Sam Wood's directorial swan song was the adventure Western Ambush, filmed in 1949 and released in 1950 after Wood's unexpected death from a heart attack. A "Grade A" M-G-M production, it starred Robert Taylor as a hardened US Army Indian fighter and companion John Hodiak and adversary Chief Thundercloud:

When Wood was arranging a production of No Sad Songs for Me, a Margaret Sullavan vehicle for Columbia Pictures, he was suddenly stricken by a heart attack on September 22, 1949, and died a few hours later in hospital.

Political beliefs

Wood became a committed and ardent Anti-Communist in the years that saw the rise of McCarthyism in the late 1940s. Wood first exhibited this political perspective In 1943, when he reduced much of the anti-fascist content of For Whom the Bell Tolls, saying "It would be the same love story if they were on the other side." In 1944, he founded and served as the first president of the Motion Picture Alliance for the Preservation of American Ideals, an organization that was "dedicated to seeking out and expelling those people it considered traitorous to American interests."

The organization, "formed of management and labor in the film industry," quietly lobbied the House Un-American Activities Committee to examine purported Communist elements in the movie industry, which they did in 1947. Wood had been keeping a black notebook in which he wrote the names of those he considered subversive. His daughter Jeane Wood said that his crusade "transformed Dad into a snarling, unreasoning brute." There was nothing in Wood's personal and professional demeanor during the course of his long career that anticipated the intensity of his anti-Communist rage which "disappointed some of his friends and greatly concerned his family."

Shortly following a 1949 meeting of his Motion Picture Alliance in which he had protested against a liberal screenwriter who was suing the group for slandering him, Wood suffered a fatal heart attack. He had added a condition to his will: No one, including his children, could collect their inheritance until they filed a legal affidavit affirming that they had never been Communists. Wood's daughter and actress, K.T. Stevens made these observations about her father's demise:

Death
Wood died from a heart attack, in Hollywood, at the age of 66. His grave is located in Glendale's Forest Lawn Memorial Park Cemetery.

For his contribution to the motion picture industry, Wood received a star on the Hollywood Walk of Fame at 6714 Hollywood Boulevard on February 8, 1960.

Biographer Tony Thomas provides this eulogy:

Depictions
Wood is played by John Getz in Jay Roach's Trumbo.

Filmography

Silent Era
With Academy Award nominations and wins in the table

 Double Speed (1920)
 Excuse My Dust (1920)
 The Dancin' Fool (1920)
 Sick Abed (1920)
 What's Your Hurry? (1920)
 A City Sparrow (1920)
 Her Beloved Villain (1920)
 Her First Elopement (1920)
 The Snob (1921)
 Peck's Bad Boy (1921)
 The Outside Woman (1921)
 The Great Moment (1921)
 Under the Lash (1921)
 Don't Tell Everything (1921)
 Her Husband's Trademark (1922)
 Her Gilded Cage (1922)
 Beyond the Rocks (1922)
 The Impossible Mrs. Bellew (1922)
 My American Wife (1922)
 Prodigal Daughters (1923)
 Bluebeard's 8th Wife (1923)
 His Children's Children (1923)
 The Next Corner (1924)
 Bluff (1924)
 The Female (1924)
 The Mine with the Iron Door (1924)
 The Re-Creation of Brian Kent (1925)
 Fascinating Youth (1926)
 One Minute to Play (1926)
 Rookies (1927 film) (1927)
 A Racing Romeo (1927)
 The Fair Co-Ed (1927)
 The Latest from Paris (1928)
 Telling the World (1928)
 So This Is College (1929)
 It's a Great Life (1929)

Sound Era

Footnotes

References

Barson, Michael. 2014.  Sam Wood: American Director. Sam Wood | American director   Retrieved 28 September 2020.
Baxter, John. 1970. Hollywood in the Thirties. International Film Guide Series. Paperback Library, New York. LOC Card Number 68-24003.
Baxter, John. 1976. King Vidor. Simon & Schuster, Inc. Monarch Film Studies. LOC Card Number 75-23544.
Durgnat, Raymond and Simmon, Scott. 1988. King Vidor, American. University of California Press, Berkeley.
Feaster, Felicia. TMC. Kitty Foyle (1940) Turner Classic Movies.  Retrieved 20 September 2020.
Feaster, Felicia. TMC. Saratoga Truck (1946). Turner Classic Movies.   Retrieved 22 September 2020.
Fristoe, Roger. TMC. Our Town (1940). Turner Classic Movies.  Retrieved 20 September 2020.
Fristoe, Roger. TMC. Ivy (1947). Turner Classic Movies.  Retrieved 22 September 2020.
LoBianco, Lorraine. TMC. Way for a Sailor (1930). Turner Classic Movies.  Retrieved 20 September 2020.
LoBianco, Lorraine. TMC. JOAN CRAWFORD PROFILE. Turner Classic Movies.  Retrieved 21 September 2020.
Nixon, Rob. TMC. The Pride of the Yankees (1943). Turner Classic Movies.   Retrieved 22 September 2020.
Nixon, Rob. TMC. Ambush (1950). Turner Classic Movies.  Retrieved 23 September 2020.
Steffen, James. TMC. The Devil and Miss Jones (1941) Turner Classic Movies.  Retrieved 21 September 2020.
Steinberg, Jay. TMC. The Stratton Story (1949). Turner Classic Movies.  Retrieved 23 September 2020.
Swanson, Gloria. 1980. Swanson on Swanson. Random House, New York.
Thomas, Tony. 1974. The Hollywood Professional Volume 2: Henry King, Lewis Milestone, Sam Wood. The Tanvity Press.
Wood, Bret. TMC. Kings Row (1942). Turner Classic Movies.    Retrieved 20 September 2020.

External links

 Remembering Sam Wood: a biography

1880s births
1949 deaths
20th-century American businesspeople
20th-century American male actors
20th-century American male writers
20th-century American screenwriters
American anti-communists
American male film actors
American male screenwriters
American male silent film actors
Burials at Forest Lawn Memorial Park (Glendale)
Businesspeople from Philadelphia
Film directors from Pennsylvania
Film producers from Pennsylvania
Male actors from Philadelphia
Screenwriters from Pennsylvania

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Now I downloaded and extracted the sigpack folder but I am kind of confused what my next step would be. There is an example C++ code on the website(http://sigpack.sourceforge.net/build.html) which I created and executed (g++ -I/include -I/sigpack -lblas -llapack -Dunix demo.cpp -o demo) but that just generates a new "shared library", Is the result in the shared library folder? If it is, how do I open the shared library folder? how do I get the final output/plot? This might be a weird and confusing question but frankly, I  don't know what the demo code is supposed to do here. I would really appreciate any help in installing sigpack and maybe working out the gnuplot and displaying results.

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text:
Stage of Production
Writer's statement
Director's statement
HANNAH SAXBY as 'SONIA'
Sonia is a 18-year-old University student. She is a shy, fragile, insecure young woman who appears to be much stronger than she looks.
Hannah Saxby is a 19-year-old actress, born and raised in London. She made her professional acting debut on stage in the 2013 National Theatre production of Emil and the Detectives. Later, in 2016, she played the lead opposite Sienna Guillory and Game of Thrones' Joseph Mawle in the award-winning short film THE SOUND. In 2017 she took part in a production of 'These Bridges' with Deafinitely Theatre Company, a bilingual theatre company for deaf and hearing actors and audiences. Since 2018, Hannah has been cast in BBC productions of CREEPED OUT, DOCTORS, SHAKESPEARE AND HATHAWAY and HOLBY CITY. In 2019 she spent the summer in Toronto and Cornwall filming for her role as a series regular in the CBBC Adaptation of Enid Blyton's books MALORY TOWERS.
LINDSAY BENNETT-THOMPSON as 'KATHERINE '
Katherine is Sonia's step-mother. She is a tired middle aged woman who shares her time between a low-paid cleaning job, run down council flat, two daughters (3 and 11 years) and alcoholic out of work husband.
Lindsay's expressive idiosyncratic look and fearless approach have gained her recognition as a contemporary and bold actress. Bringing 15 years of experience as both a stage and screen actor, you might recognize her from "Coronation Street" and "Meet the Richardson's" (Series 2). Lindsay is also a celebrated award-winning filmmaker, as her last film "Enter Nirvana" picked up 4 awards internationally for Best Experimental Film. Her passion for independent film is a driving force in her career, bringing stories and voices not typically acknowledged in mainstream cinema, and she is thrilled to be working with the "Transgressing" team on this deeply poignant and important story.
EMILY SWAIN as 'PROFESSOR BLAKE'
Professor Blake teaches ecology at the University where Sonia studies. She helps Sonia in her survival quest in a controversial way.
Emily brings a seasoned hand to Blake in Transgressing. With over 30 years working in and around show business on both stage and screen, Emily has performed around the world including for award-winning playwrights and filmmakers. Her first feature was shooting with the legendary Sir Michael Caine & Martin Landau. She won Best Supporting Actress in the film "Toby's Song" at the Independent Shorts Awards (ISAs) in LA. Her own film "The Shriving" was officially selected for Indie Short Fest, LA, and also awarded at the ISAs. Emily is among the list of notable alumni from the Academy of Live and Recorded Arts, London (ALRA).
BARRIE RYAN ENGLISH as 'SIMON'
Simon is a father to Sonia and her younger sisters. He is a middle age alcoholic who is on a zero contract job.
Barrie trained at The Oldham Theatre Workshop in Manchester and studied Acting and Musical Theatre at the University of Hertfordshire where he gained a degree in Performing Arts. He has worked in TV (House of Anubis, Nomads), Film ( Saucy Butty, The Writer, Bringing Back Goldeneye), and Theatre (Zero, Joined At The Hip, The Cakewalk, and The Crickets Sing ), as well as having worked as a writer and director in two jukebox musicals and for a video game company.
KYRAH as 'Polly'
Polly's family is broken and she can now see it. While she still has the needs of an older child, she wants to be treated like a grown-up. Nobody respects that, except her loving step-sister Sonia.
Kyrah is an 11-year-old actress and model. She portrays Polly, Sonia's step-sister, in the film. Kyrah is a confident bubbly girl with a unique stunning look and we are happy to have her on board.
ENNI RED
After more than 15 years of writing scripts for theatre and television, and holding other different positions in film (assistant producer, 1st AD, script supervisor, production designer) in Russia, Enni moved to the UK to continue her career in Europe. After graduating from Screen Academy Scotland (MA Screenwriting) she produced wrote/produced several short films (TOMORROW, MAKE A WISH, SING, MUMMY!, WITHOUT) which were officially selected by a number of festivals, screened around the world and received several awards and nominations. While undertaking a PhD in Film and teaching Film Studies at Lancaster University, Enni is currently developing (as writer/producer) a feature film THE PUNISHMENT and a short film TRANSGRESSING, both are loose adaptations of Dostoevsky's CRIME AND PUNISHMENT.
ALESSANDRO REPETTI
Alessandro started his career in Live News Television and was directing TV (including British TV show COAST2COAST). His first short film MASQUERADE (2014) gained great recognition in the horror community due to its freshness and relevance. After three years directing television, Alessandro collaborated with Luke Collins on CAPPUCCINO (2018, Channel 4 Random Acts) and SWIPED (2019, BBC New Creatives), which received over half a million views in the opening week across iPlayer and social platforms. His latest short film HOW SCARED SHE WAS (2019) is on festival journey now being officially selected by a number of International Film Festivals. Alessandro is a member of BFI Network x BAFTA Crew in London and Lecturer in Film Production for the University of Surrey.
YANA RITS
Yana Rits was born and brought up in St. Petersburg in Russia. It's rich cultural past gave her a brilliant opportunity to absorb art and source inspiration from a very early age. She studied fine art at the State University of St.Petersburg, then cinematography at FAMU in Prague and at the Northern Film School in Leeds.
Yana is an award-winning DOP who works on feature films, short films, documentaries, music videos and commercials in the UK and around the world.
YOANN MYLONAKIS
Yoann Mylonakis is a composer and performer, graduate from the Paris Conservatoire (piano performance), The University of Edinburgh (Master's Degree in Digital Composition and Performance) and The University of Montreal (musical writing). As a performer, Yoann has given recitals internationally, premiered contemporary music and participated in many festivals as soloist and chamber musician. As a composer, Yoann explores writing for concert, stage, television and cinema. His soundtracks were nominated at the BAFTA Scotland New Talents Awards (LEMURIA), reached the semi-finals for the Best Score at the Los Angeles Cinefest (TOMORROW), shared the Best Soundtrack Award at the Scottish Short Film Festival (CLOSE TO THE BONE), obtained a Crystal Pine Awards Nomination for Best Original Score at the International Sound & Film Music Festival (WITHOUT).
DAN LYSENKO
Dan is a production designer, still life photographer and mixed media artist. He excelled in the field of creative photography with a particular enthusiasm for set design and prop making. His design projects include retail store interiors for the Hong Kong and Paris branches of a well-known jewellery brand. While expanding his skill set, he attended workshops with the production designers of SKYFALL and TRAINSPOTTING, and has since worked on a number of music videos (FIRE) and short films (MAKE A WISH) as a production designer. His poster for a short film MAKE A WISH won the prestigious Fresh Future '19 award. His short film created from paper (PAPERTRUCK) won an award at Four Walls Film Festival.
KAMIL DOBROSIELSKI
Kamil is a Masters degree graduate from Screen Academy Scotland. His editing works include trailers for the Institute of Contemporary Arts in London and Kinoteka Polish Film Festival. He had edited a number of award winning short films including Edinburgh International Film Festival selected film AT DAWN THE FLOWERS OPEN THE GATES OF PARADISE, Edmonton International Film Festival selected film MERCURY, MAYBE and experimental short drama WITHOUT. He was nominated for a Golden trailer Award for an 'Onwards And Outwards' Trailer GENTELMEN. He's currently editing his first feature, a wildlife documentary called MATA ATLÂNTICA.
BLACK GOBLIN
sound recording / sound design
Black Goblin is an audio services and technology company providing sustainable and accessible sound production for all. Established in 2018, Co-Founders Ana Betancourt and Gabrielle Haley have over a decade's worth of experience working in the sound and post-production industry. Together, they utilise their expertise throughout their collaborations, and provide exceptional audio in the process.
Copyright owner of the film Enni Red (AKA Anna Kumacheva)

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MAURICIO POCHETTINO says England's Harry Kane and Jamie Vardy are up there with his countryman Sergio Aguero when it comes to be super strikers.
Manchester City's Argentine ace Aguero has been seen at the best hitman in the Premier League.
But with Leicester and Vardy and Kane at Pochettino's Tottenham challenging for the title, he now has serious competition.
"Vardy and Kane show big quality, the same quality as Aguero," said Pochettino, whose Spurs are now third.
But Pochettino, whose men face Watford at home on Saturday, admitted he may have to rest Kane as Spurs go for glory in the league, FA Cup and Europa League.
"Sometimes you need to rotate or rest for recovery and energy," he added.
But Pochettino insisted he was not being driven by the desire to finish above bitter north London rivals for the first time in 1995.
"It's not my principal motivation," he added. "I can feel it's very important for our people who love Tottenham to be above them because the reality is they are our small enemy, you can feel that.
"For me it's important to care about our goals and our objectives, don't think too much about our opponent.


text:
Hall of Honour (7): Fr Marc Andrè Camilleri
Fr Camilleri (centre) during a procession
The seventh recipient of this virtual award is Fr Marc Andrè Camilleri, who was appointed parish priest of Christ the King parish in Paola by Archbishop Paul Cremona in August 2014.
Fr Camilleri, from Lija, was born on 15 August 1984 and ordained priest on 23 June 2010. He served as deputy parish priest at St Sebastian parish in Qormi and - since 2010 - is a member of Missjoni ż-Żgħira. The latter was established in Malta in 1884 by Canon Francesco Bonnici. The Canon was inspired by the activities of the Mission founded by St. Gaspare del Bufalo in Rome. with the primary aim of instructing children through missionary preaching. Today, the Missjoni ż-Żgħira preaches missions not only to children but also to adults, and especially to youths.
Fr Camilleri has celebrated Mass in the Extraordinary Form of the Roman Rite in several localities, including Valletta, St. Paul's Bay, Bengħisa and Ta' l-Ibraġ. Some of these were celebrated with the aid of Pro Tridentina (Malta).
Fr Marc Andrè has also contributed to the debate on the so-called reform of the reform. Below is his article (when he was a deacon) published in the Sunday Times of Malta.
The reform of the reform
It seems very unfair to say that any discussion about the implementation of the post-Vatican II liturgical reform would lead to its deformation.
It was Pope Benedict himself, while still Cardinal, who pointed out that "the reform of the liturgy in its concrete realisation... resulted not in reanimation but in devastation. We have a liturgy that has degenerated into a show, in which attempts are made to make religion appear interesting with the help of idiotic fashions..." (Preface in Klaus Gamber: La reforme liturgique en question, 1992.)
He himself called for a reform of the reform many times, not, as others would have us believe, that this younger generation is "nostalgic for turning back the clock".
Would the Pope accuse the younger generations of "nostalgia" or "Lefebvrian fundamentalism"? I doubt it. When asked about this in 2001, Cardinal Joseph Ratzinger answered very clearly to those who wish "to make us believe that if we did not adhere to their schemas we will be nostalgically returning to the past. Such things do not go like that. It is an attitude of a past faction. It is important to reflect in an open manner and not to kill instantly all this reflection, we are accused of being partisans of St Pius V. We need to outride this way of thinking. I'm evidently for Vatican II, which has given us a lot of beautiful things. But declaring that it is impossible, and to judge unacceptable all the reflection on what we can elicit from the Church's history, for me is sectarianism which I don't accept any more."
While reflecting on the use of the 1962 Roman Missal, Pope Benedict pointed out that the fact "that young people too have discovered this liturgical form, felt its attraction and found in it a form of encounter with the mystery of the Most Holy Eucharist, particularly suited to them."
What a far cry from the accusation Fr Joe Inguanez levelled at the younger generations for "returning the practices and rituals that belong to another era are nothing less than a manifestation of wanderlust, of romantic utopia, symbolised in the sacred rather than the religious." (Excerpts from the '2005 Mass census report', Malta, p. 28)
In the words of the Pope, "what earlier generations held as sacred, remains sacred and great for us too, and it cannot be all of a sudden entirely forbidden or even considered harmful. It behooves all of us to preserve the riches which have developed in the Church's faith and prayer, and to give them their proper place." (July 7, 2007)
The Pope has made it clear that he is attempting even to reform the Papal liturgies according to the principles he so vociferously spoke about before his election. The first reform was the change of the master of ceremonies after which the Papal liturgies took on a different style; that of "a wise joining of the ancient with the new, to actuate in spirit and letter, as much as possible, the indications of the Second Vatican Council, and to do this in such a way that the pontifical celebrations are exemplary in all aspects."
Benedict has given us a direction to aim for; a Church which does not look for uniformity but for unity in diversity; a Church in which two forms of the same rite if celebrated well can exist together, a Church in which the Roman rite can exist together with different Eastern rites and now even with an Anglican rite. Not a Church that accuses these reformers of "Lefebvrian fundamentalism", or of trying to turn the clock back. Had this attitude of mistrust and hostility guided the Church's authorities during the centuries, no reform would have ever taken place.
Fr. Joe Inguanez, who holds a diametrically opposite view, replied a month later. The letter can be found below:
The Church: a reform or a counter-reform?
My attention has been drawn to a letter written by Rev. Deacon Marc Andre' Camilleri, published on February 28.
I read his letter with all the attention it merits. Ironically, I was both amused and amazed.
I was amused because the letter speaks more about its author than about my pastoral commentary which introduced the Malta Sunday Mass Attendance Census 2005.
I was amazed because Fr Camilleri is reaching the end of his degree course in theology and I could hardly find any theological argument in his missive.
This was also a disappointment, since I am aware of the effort of most of my colleagues, who are doing their best to teach theology and resisting turning their lectures into glorified Catechism lessons.
Not that I do not accept the Catechism, but its teachings alone do not constitute theology. The problem with Fr Camilleri - and with those of a similar mindset - is that he ignored the serious pastoral problems which I tried to tackle in my commentary.
The reason people are leaving the Church are not the "so-called" aberrations in the liturgy that followed Vatican II, but what Cardinal Ratzinger, on Good Friday 2005, referred to as the "filth [that] there is in the Church, and even among those who, in the priesthood, ought to belong entirely to Him!
How much pride, how much self-complacency!"
Fr Camilleri praised Mgr Guido Marini, the present Papal Master of Ceremonies, without letting readers know these words were uttered by a certain Father Gagliardi, a member of the staff of the same Mgr Marini. (see Zenit, January 8, 2010).
May I suggest he reads the book by Archbishop Piero Marini (the former Master of Ceremonies to His Holiness), Challenging Reform: Realizing the Vision of the Liturgical Renewal, 1963-1975 (2007).
He will learn that "with the change of the Consilium into a Congregation in 1969 and the transformation of the Congregation for Divine Worship to a subsection of another Congregation in 1975 (Congregation for Divine Worship and the Discipline of the Sacraments), the distinctive style of the Consilium was gradually absorbed into the more traditional style proper to the Roman Curia.
This was probably one of the first signs of a tendency to return to a pre-conciliar mindset that has for years now characterised the Curia's approach.
As more and more time passes since the Second Vatican Council, an event charged with such hope and desire for renewal, its distinctive contributions seem to be increasingly questioned."
Fr Camilleri does not seem perturbed by the fact that 49 per cent are not attending Sunday Mass.
Or perhaps he believes these can be brought back by the widening of clerical phylacteries and lengthening of tassels, a style definitely not promoted by Jesus (Matthew 23: 5).
He seems to be unaware of the Lord's pastoral injunction to leave the 51 per cent and go out in search of those who have left, or have never been in.
In line with people of ultra-conservative mindset, he takes critique to be an accusation. Ironically, he quotes Pope Benedict to make his point; ironically, I can use the same quote in support of my argument: "We need to outride this way of thinking. I'm evidently for Vatican II, which has given us a lot of beautiful things. But declaring that it is impossible, and to judge unacceptable all the reflection on what we can elicit from the Church's history, for me is sectarianism which I don't accept any more".
It is his lack of knowledge of the Church's history, history of theology and human thought that is Fr Camilleri's achilles' heel.
I am really sad he has really proved one of the points made in my commentary - that we are faced with a number of clerics who seem to be more interested in custom than tradition; in one's attire more than in the way one lives; in building and decorating the Temple of our Jerusalems rather than in nurturting the Body of Christ.
What our Church needs is not the reform of a reform, but constant reform on the lines started by Vatican II and perhaps, as Cardinal Martini and others have suggested, by means of a Vatican III.
Labels: Bengħisa, Extraordinary Form, Fr. Marc Andre' Camilleri, Paola, Paul Cremona, Pro Tridentina, Qormi, reform of the reform, St. Gaspare del Bufalo, St. Paul's Bay, Sunday Times, Ta' l-Ibraġ, Valletta


Lord Bassam of Brighton: With the greatest respect, I was not saying that there is no such thing as community. I believe the expression the noble Lord remembered was, "There is no such thing as society", but I may be wrong.
Lord Thomas of Gresford: I stand corrected. Might we use the word "stakeholders" instead? My enthusiasm for the word "stakeholders" has increased since I looked in the Oxford English Dictionary and discovered that it was first used in the sense used by the Minister by my noble friend Lord Dahrendorf in the 1970s. When after the next general election we take our seats on the Benches opposite, we shall say, "We are the stakeholders now" at the same time as singing "Lloyd George knew my father".
to the Minister for the care that he took in his response. I agree that the drafting is not as good as it should be; the amendment was tabled to stimulate our debate.
In moving the amendment I was telegraphic to a fault when I said that I underlined everything I had said in moving my amendment under Clause 1, because I did not make it clear that the underlying problem in Clause 1(2) was the public concern about court closures. I am grateful to noble Lords who picked up the cudgels on that point.
I will not go into detail on noble Lords' responses. They were all right in some respects. I will take account of everything that was said, particularly the Minister's remarks, in order to look more carefully at the drafting. I agreed with his observations, with the exception of that on the word "community". There is such anxiety about closures and the necessity to ensure clarity in the Bill in giving reasonable powers to the Lord Chancellor that I shall return to the matter in some form on Report. I beg leave to withdraw the amendment.
"( ) Nothing in this section or section 27 excludes a right to damages under section 9 of the Human Rights Act 1998 (c. 42)."
The noble Lord said: I intended to raise an issue discussed by the Joint Committee on Human Rights in its first report on the Bill. However, as a result of subsequent correspondence between the Joint Committee and the noble and learned Lord the Lord Chancellor, in a report published today the Joint Committee has declared itself satisfied on the issue and, it appears to me, on grounds that are convincing. In those circumstances, I do not intend to move the amendment.
Clauses 27 to 30 agreed to.
"(c) provided with training as a fines officer by the Lord Chancellor"
"Fines officers will largely be drawn from existing MCC staff, many of whom have long experience of dealing with defaulters. They will have training and guidance to support them in their new role and this will be developed in the course of the pilot schemes".
But we need to ensure that the Minister puts the matter on the record at the Dispatch Box. If fines officers will "largely" be drawn from existing MCC staff, where will the minority be drawn from?
As a new and difficult role in the courts' system, it is essential that the correct training procedures are put in place in order for the position to be respected. As I have previously stated, fines are the most common penalty handed out by magistrates' courts. For that reason alone, this new role will be busy and demanding. It is essential that the officers are given proper support and guidelines from the beginning. We wish to know what training they will be given. Will it be completed before the first pilot scheme is launched?
"vary in the defendant's favour the method and timing by which the fine imposed by the court should be paid, and to take 'further steps' to secure payments of a fine".
So they are taking sensitive decisions. What if they mistakenly decide not to vary terms? That could have disastrous consequences for a defendant, or it might cause him or her not to bother to pay.
As the Lord Chancellor will appoint the new fines officers, we feel that he should also have responsibility for their training. It would be common sense for the Lord Chancellor to provide this training in order to ensure consistency throughout the country. It would also enable fines officers to operate in any of the local justice areas, thereby providing flexibility of employment.
If we are to improve the system for collection of fines, it is vital that the new system is robust and well respected—otherwise people will continue to fail to pay their fines. I beg to move.
extent to which the fines officer can take decisions to apply a clamping order. Those topics, unfortunately, cannot be discussed at this stage.
Lord Donaldson of Lymington: I wish to make a point which I hope will not be regarded as what the noble Baroness would describe as a "hair-splitting" one. The proposal is to add a paragraph to what is a definition clause. We might then have the following position. If it could be shown by a disgruntled defaulter that a particular fines officer had not been provided with the training required under the Act, it might be claimed that he was not a fines officer at all. That would be unfortunate.
Baroness Scotland of Asthal: Clause 32 provides for the Lord Chancellor to designate fines officers, whose role will be to manage the collection and enforcement of fines. I am very happy that the noble Baroness, Lady Seccombe, has read out much of my letter. I endorse everything that I said in the letter and I say from the Dispatch Box that we do not resile from any of it. That is our position. I hope that helps the noble Baroness.
Amendment No. 58, tabled by the noble Baroness, proposes that a line be added to the Bill that identifies a fines officer as someone who has been provided with training by the Lord Chancellor. I entirely take the point made by the noble and learned Lord, Lord Donaldson, that that would be an additional flaw to the provision.
It is in the interest of the fines collection scheme that fines officers are well trained. However, it is not the usual practice to make statutory provisions for training court staff.
Clause 31(1) states that fines officers are appointed by the Lord Chancellor under Section 2(1) and are designated as fines officers by him. Fines officers will largely be drawn from existing magistrates' courts committee staff, many of whom have had long experience in dealing with defaulters. The noble Baroness asked about the minority. We are now in the days of open competition where experienced and expert people can apply. I am sure that it would be open to the courts to decide whether they were satisfied that a person applying for a fines officer's job had the appropriate understanding, experience and so on.
Of course I cannot say that each and every person will be drawn from the current cadre of people who serve the courts, but the noble Baroness will know that it is more likely than not that such persons will have the ability and experience that best places them to fulfil that role. It would be quite improper on the face of the statute to exclude anyone who is not currently employed by the Court Service. The provision is framed to enable the reality of that situation to be voiced.
Guidance will be given to magistrates' courts as to the specific training a fines officer will require. These requirements may be further developed throughout the pilots. The fines collection regulations will provide clear procedures for fines officers to follow. I hope that that meets many of the concerns of the noble Baroness.
It is also right that, as I set out in the letter, the fines officer will have no power to decide whether or not a fine should be imposed or to determine the level of a fine. The Courts Bill gives a fines officer power to vary the method and timing by which the fine imposed by the court should be paid, and to take "further steps" to secure payment of a fine; for example, issuing a warrant of distress, registering the sum due in a new combined register of judgments, making an attachment of earnings order and making a clamping order. Sanctions imposed for late or non-payment are a consequence of non-compliance with the financial sentence imposed by the court and are designed primarily to encourage payment.
The noble Baroness asked what would happen if the individual applicant did not agree with the fines officer's wishes for disposal of the fines. In those circumstances there could be an appeal or a "referring back"—that is perhaps more accurate—to the court for it to so determine. Therefore, the person subjected to the fine would have a right of recourse if he was not in agreement with the arrangement made by the fines officer.
I hope that that assists the noble Baroness with the issues that she raised. I note what the noble Lord said in relation to his further matters. If and when those are raised we shall of course respond. I also reiterate that we shall meet Front Bench spokesmen and other interested noble Lords to discuss this topic between Committee and Report. If there are any issues that noble Lords want to raise between those times, or indeed between Committee dates, I shall be more than happy to respond as best I can.
Baroness Seccombe: I am grateful to the Minister for agreeing the contents of her letter and to having them recorded in Hansard, saying that the Government's view is that there should be open competition. If that is so, it is even more essential for some form of training to be given to applicants from outside the court service. I was interested to hear that if there were a dispute between the defendant and the fines officer, it would be referred back to the court.
We are grateful for the Minister's helpful assurances, but we shall read Hansard carefully and take it from there. At this stage, I beg leave to withdraw the amendment.


Jessica Knight is an Oxford-based illustrator. She creates her work using a mixture of traditional media and digital techniques, drawing inspiration from a love of children's books. Clients include: Parragon Books UK, Springboard Stories and James Ellis.


Abacus Builders & General Contractors is a rapidly expanding construction company based in Boston. In the last few years, we have not only continued to grow our reputation for excellence but also evolved into a desirable company to be a part of due to our high standards of work.
We are looking to fill the key position of Residential Estimator and Salesperson. The company still does Commercial Estimating but in recent years we have migrated to almost exclusively residential projects as Abacus also buys and develops our own projects as ground-up new construction.
Hands-on approach that can hit the ground running and take the bull by the horns. This added responsibility will reflect in your compensation, we are offering very competitive pay for the right man/woman for the job.
What we do and what you can expect-We do everything from full gut remodels to ground up, new construction of multi-unit buildings. We are very busy and fast-paced. We typically have between 15-20 projects going on at any given time and our long-term scheduled calendar is always full. A typical day is dealing with new customers to prepare their estimates, calling our subs to get the best price for competitive bids, doing site visits and presenting bids in a timely and professional manner. Our primary objective is to deliver exceptional service to our clients' specific goals and concerns.
Communicating directly with clients on challenging projects and providing recommendations in the best interest of the client.
Responsible for making routine sales calls to project managers, engineers, or other professional and technical professionals to foster business development.
Maintaining a full and current understanding of project drawings and plans.
Obtaining the best subcontractors, preparing and presenting bids, and driving the pace of the project.
plan swift or comparable a plus.
Developing and executing preconstruction milestones on the project schedule among the team.
Ensuring that your knowledge of the project and its requirements are effectively communicated to subcontractors and included in the scope of their quote, furthermore relaying in detail to the project manager.
Collaborating with the Project Management Team and Purchasing in set up of projects to insure profitability, client satisfaction and the best subs for the job.
Making sure schedule is in place during project set up and sub-bidding that reflects that project strategy for completion.
Give you free reign to implement your own style of Estimating without being micromanaged. Allow you to broaden the company's horizons with projects outside our usual realm of business. Offer you competitive pay with opportunities to earn commissions as well as 401k and bonuses.


A Washington County Sheriff's deputy arrested 23-year-old Brandon Johnson of Freeport after getting out with a vehicle that caused the deputy some concern.
Around 8 p.m. on February 13th, the WCSO deputy observed a vehicle traveling 67 miles per hour on Pioneer Road. As the deputy got behind the vehicle the car was seen weaving in the lane. The driver then put on the turn signal and pulled onto the right away without the deputy attempting a traffic stop. Concerned that there may be a medical emergency, the deputy stopped to check on the driver. The deputy immediately noticed the odor of marijuana coming from the vehicle.
During a search of the vehicle the deputy located multiple pipes which contained both marijuana and meth residue. A clear plastic bag containing methamphetamine was also located in Johnson's sock.
Johnson was taken into custody and booked into the Washington County Jail for one count of possession of methamphetamine and two counts of possession of drug paraphernalia.


The state Supreme Court on Friday turned down an appeal by Florida Power & Light in a case about whether the utility could be required to install underground transmission lines as part of a nuclear-power project in Miami-Dade County.
Justices, as is common, did not explain their reasons for declining to take up the case. But the decision was a victory for local governments, including the city of Miami, that have tangled with FPL about the transmission-line issue and local development regulations.
The dispute is rooted in a long-discussed FPL proposal to build two new nuclear reactors at its Turkey Point complex in Miami-Dade. In 2014, Gov. Rick Scott and the Cabinet, acting as the state's power-plant "siting board," signed off on the project.
But the 3rd District Court of Appeal sided with local governments and overturned the decision by Scott and the Cabinet. A key part of the ruling said Scott and Cabinet members erroneously determined they could not require underground transmission lines as a condition of the project approval.
"The court of appeal held that the siting board was required to apply the city of Miami's applicable land development regulations, and that the siting board erred when it determined that it did not have the authority to require FPL to install the lines underground at its own expense," attorneys for the city wrote in a brief to the Supreme Court.
In taking the case to the Supreme Court, FPL argued that the state Public Service Commission — not Scott and the Cabinet — has authority over issues related to installing transmission lines underground. It said the dispute involved 89 miles of transmission lines.
The city of Miami, however, disputed such arguments.
"Relative to nuclear facilities, if the siting board has the authority to impose conditions on a power company (it does), then it can impose any condition without intruding on the PSC's jurisdiction," the city's brief said.
I'd like to see new lines go underground. Above ground lines are unsightly and wreak havoc when we have a storm come through.
In the sunshine state the focus should be on solar power plants vs nuclear power. One reason I didn't like Hutchinson Island as a place to live was it had a nuclear power plant sitting right on the ocean. NOPE!


text:
As you would know we are currently faced with unprecedented circumstances due to COVID-19.
RecruitWest Management are closely monitoring the information released by the Health Department and relevant Government departments on a daily basis.
It is increasingly evident that, as individuals, we have a shared responsibility to slow the potential spread of the virus in order to limit the impact on health care facilities and the community in general.
The best way to prevent the spread of COVID-19 is by practising good hand hygiene and sneeze/ cough etiquette.
frequently washing your hands for at least 20 seconds with soap and water, or using an alcohol-based hand gel;
refraining from touching mouth and nose;
avoiding close contact with anyone if you, or they, have a cold or flu-like symptoms; and,
do not attend the workplace if you have any flu like symptoms consistent with a virus, such as fever, cough, sore throat, fatigue and shortness of breath.
If you have COVID-19 symptoms AND have been in contact with a confirmed case of COVID-19 OR have recently travelled overseas you should leave the workplace and inform your supervisor and RecruitWest immediately.
The Prime Minister has announced that as of 12.00 AM (AEST), 16 March 2020, all people returning from international travel must self-isolate for fourteen (14) days after the date of return to Australia. Self-isolation does not apply to other members of the household who have not travelled overseas.
The risk of transmission in Australia remains low; however, the situation is evolving. Western Australians should remain alert, but not be alarmed.
Australian Department of Health website
WA Department of Health website
Australian Health Direct website, which includes a symptom checker
The World Health Organisation website, which includes further information and updates about Coronavirus.
Getting your workplace ready for COVID-19 World Health Organisation
Smart Traveller provides the latest Australian travel warnings.


During the month of January, we're reviewing some of our favorite posts from 2012. Back in March, Jonathan Trask's interview of top-shelf producer Warren Huart yielded some great insights about the music industry in general. We thought it was worth taking another look. -Ed.
To put it lightly—L.A. music producer/engineer Warren Huart is a very busy guy.
As if that weren't enough, Warren Huart is a natural mentor who is passionate about teaching his craft to others. (One of his protégés recently took home a Grammy for his work on Adele 21.) So when producer Tim Palmer told him about the Recording Connection program, it was a perfect fit—and nowadays, Huart says he only accepts apprentices who come through the Recording Connection.
Huart was gracious enough to answer some questions for us, and as we talked, I could definitely hear his passion, not only for his work, but also for training up others in the music industry.
MIMO: You've mentored numerous Recording Connection students. Do you keep in touch with them? What are some of your students doing these days?
W.H.: I can't remember how many I've had…I'm going to pick a number, but I think it's probably, like twelve, in the past year, and ten of them I keep in very good contact with. We have a pretty good success rate. Ten of them really got it, they really stuck in there…two of them are full time employees of mine. One is working with me on the Aerosmith record, for instance, [and] next week, he's gonna be recording Tenacious D, so he's turned into a full-time engineer. Another [of my students] is basically doing mainly P.A. work, which is he really wanted to do… Another guy started his own business and is producing acts, and obviously two or three of them are still with me [as students] as well.
MIMO: What is your favorite part of the recording/producing process?
W.H.: I have to do everything, as much as I can. I'm one of those people that if I'm not exceptionally busy, if I'm not running really fast, I feel like I'm going backwards. Often I play guitar on my recordings, or keyboards. I played piano on Daniel Powter's stuff; I played the guitar on James Blunt's stuff…it's part of the whole process, I have to do as much as I can, so there's no one single element, I just love doing it all. And I relish every moment. On Aerosmith, I'm the engineer and the mixer, but on other records I'm all of those things, and I'm a songwriter, and I'm a producer, so it's all great. I know it sounds like a standard answer, but it's the truth–I just like to be very busy.
MIMO: What prompted you to work with and endorse the Recording Connection?
W.H.: It takes care of a lot of people that fall through the cracks…The thing that attracts me about the program the most is that you can give people individual, one-on-one attention that can't be done in the classroom. My philosophy is that I don't put [my students] into position to fail…it allows me to focus on what they need.
MIMO: What advice would you give someone who wants to be an audio engineer or music producer about how to break into the business?
Jonathan Trask on MUSIC IS MY OXYGEN WEEKLY.