Passage 1:
Everything's Ducky
Everything's Ducky is a 1961 comedy film directed by Don Taylor and written by Benedict Freedman and John Fenton Murray. The film stars Mickey Rooney, Buddy Hackett, Jackie Cooper, Joanie Sommers, Roland Winters and Elizabeth MacRae. The film was released on December 20, 1961, by Columbia Pictures.

Plot
Two sailors sneak a talking duck aboard their ship. Complications ensue. The duck waddles all over the ship until he escapes.

Cast
Mickey Rooney as Kermit 'Beetle' McKay
Buddy Hackett as Seaman Admiral John Paul 'Ad' Jones
Jackie Cooper as Lt. J.S. Parmell
Joanie Sommers as Nina Lloyd
Roland Winters as Capt. Lewis Bollinger
Elizabeth MacRae as Susie Penrose
Gene Blakely as Lt. Cmdr. Bernard Kemp
Gordon Jones as Chief Petty Officer Conroy
Richard Deacon as Dr. Deckham
James Millhollin as George Imhoff
Jimmy Cross as Drunk
Robert Williams as Duck Hunter
King Calder as Frank
Ellie Kent as Nurse
William Hellinger as Corpsman
Ann Morell as Wave
George Sawaya as Simmons
Dick Winslow as Fröehlich
Alvy Moore as Jim Lipscott
Walker Edmiston as Scuttlebutt – The Duck
Passage 2:
Abhishek Saxena
Abhishek Saxena is an Indian Bollywood and Punjabi film director who directed the movie Phullu. The Phullu movie was released in theaters on 16 June 2017, in which film Sharib Hashmi is the lead role. Apart from these, he has also directed Patiala Dreamz, this is a Punjabi film. This film was screened in cinemas in 2014.

Life and background
Abhishek Saxena was born on 19 September 1988 in the capital of India, Delhi, whose father's name is Mukesh Kumar Saxena. Abhishek Saxena married Ambica Sharma Saxena on 18 December 2014. His mother's name is Gurpreet Kaur Saxena.
Saxena started his career with a Punjabi film Patiala Dreamz, after which he has also directed a Hindi film Phullu, which has appeared in Indian cinemas on 16 June 2017.

Career
Abhishek Saxena made his film debut in 2011 as an assistant director on Doordarshan with Ashok Gaikwad. He made his first directed film Patiala Dreamz, this is a Punjabi movie.After this, he has also directed a Hindi film Phullu in 2017, which has been screened in cinemas on 16 June 2017. Saxena is now making his upcoming movie "India Gate".
In 2018 Abhishek Saxena has come up with topic of body-shaming in his upcoming movie Saroj ka Rishta.
 Where Sanah Kapoor will play the role of Saroj and actors Randeep Rai and Gaurav Pandey will play the two men in Saroj's life.Yeh Un Dinon ki Baat Hai lead Randeep Rai will make his Bollywood debut. Talking about the film, director Abhishek Saxena told Mumbai Mirror, "As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people. The idea germinated from there."
Career as an Assistant DirectorApart from this, he has played the role of assistant director in many films and serials in the beginning of his career, in which he has a television serial in 2011, Doordarshan, as well as in 2011, he also assisted in a serial of Star Plus.
In addition to these serials, he played the role of assistant director in the movie "Girgit" which was made in Telugu language.

Filmography
As Director
Passage 3:
G. Marthandan
G. Marthandan is an Indian film director who works in Malayalam cinema. His debut film is Daivathinte Swantham Cleetus

Early life
G. Marthandan was born to M. S. Gopalan Nair and P. Kamalamma at Changanassery in Kottayam district of Kerala. He did his schooling at NSS Boys School Changanassery and completed his bachelor's degree in Economics at NSS Hindu College, Changanassery.

Career
After completing his bachelor's degree, Marthandan entered films as an associate director with the unreleased film Swarnachamaram directed by Rajeevnath in 1995. His next work was British Market, directed by Nissar in 1998. He worked as an associate director for 18 years.He made his directional debut with Daivathinte Swantham Cleetus in 2013, starring Mammooty in the lead role. His next movie was in 2015, Acha Dhin, with Mammooty and Mansi Sharma in the lead roles. Daivathinte Swantham Cleetus and Paavada were box office successes.

Filmography
As director
As associate director
As actor
TV serialKanyadanam (Malayalam TV series) - pilot episode

Awards
Ramu Kariat Film Award - Paavada (2016)
JCI Foundation Award - Daivathinte Swantham Cleetus (2013)
Passage 4:
Don Taylor (American actor and director)
Donald Richie Taylor (December 13, 1920 – December 29, 1998) was an American actor and film director. He co-starred in 1940s and 1950s classics, including the 1948 film noir The Naked City, Battleground, Father of the Bride, Father's Little Dividend and Stalag 17. He later turned to directing films such as Escape from the Planet of the Apes (1971), Tom Sawyer (1973), Echoes of a Summer (1976), and Damien: Omen II (1978).

Biography
Early life and work
The son of Mr. and Mrs. D. E. Taylor, Donald Ritchie Taylor was born in Freeport, Pennsylvania on December 13, 1920. (Another source says that he was born "in Pittsburgh and raised in Freeport, Pa.") He studied speech and drama at Penn State University and hitchhiked to Hollywood in 1942. He was signed as a contract player at Metro-Goldwyn-Mayer and appeared in small roles. Drafted into the United States Army Air Forces (AAF) during World War II, he appeared in the Air Forces's Winged Victory Broadway play and movie (1944), credited as "Cpl. Don Taylor."

Acting career
After discharge from the AAF, Taylor was cast in a lead role as the young detective, Jimmy Halloran, working alongside veteran homicide detective Dan Muldoon (Barry Fitzgerald) in Universal's 1948 screen version of The Naked City, which was notable for being filmed entirely on location in New York. Taylor was later part of the ensemble cast in MGM's classic World War II drama Battleground (1949).  He then appeared as the husband of Elizabeth Taylor in the comedies Father of the Bride (1950) and its sequel Father's Little Dividend (1951), starring Spencer Tracy. Another memorable role was Vern "Cowboy" Blithe in Flying Leathernecks (1951). In 1952, Taylor played a soldier bringing his Japanese war-bride back to small-town America in Japanese War Bride. In 1953, Taylor had a key role as the escaping prisoner Lt. Dunbar in Billy Wilder's Stalag 17. His last major film role came in I'll Cry Tomorrow (1955).

Directorial career
From the late 1950s through the 1980s, Taylor turned to directing movies and TV shows, such as Alfred Hitchcock Presents, the short-lived Steve Canyon, starring Dean Fredericks, and Rod Serling's Night Gallery.  One of his memorable efforts, in 1973, was the musical film Tom Sawyer, which boasted a Sherman Brothers song score. Other films that Taylor directed are Escape from the Planet of the Apes (1971), Echoes of a Summer (1976), The Great Scout & Cathouse Thursday (also 1976), The Island of Dr. Moreau (1977) starring Burt Lancaster, Damien: Omen II (1978) with William Holden, and The Final Countdown (1980) with Kirk Douglas.
Taylor occasionally performed both acting and directing roles simultaneously, as he did for episodes of the TV detective series Burke's Law.

Writing career
Taylor "wrote one-act plays, radio dramas, short stories, and the 1985 TV movie My Wicked, Wicked Ways ... The Legend of Errol Flynn."

Personal life
Taylor was married twice.

His first wife was Phyllis Avery, whom he married in 1944; they divorced in 1955, but not before the births of their daughters Anne and Avery.
His second wife was Hazel Court, whom he married in 1964 and stayed with until his death; they had a son, Jonathan, and a daughter, Courtney.

Death
Taylor died on December 29, 1998, at the University of California Medical Center in Los Angeles, California, of heart failure.

Awards
Nominee, Best Director – Saturn Awards (The Island of Dr. Moreau) (1977)
Nominee, Best Director-Comedy – Emmy Awards (The Farmer's Daughter) (1963)

Selected filmography as director
In addition to his Hollywood credits, Taylor directed 27 television movies and episodes for 53 television series including Cannon, Rod Serling's Night Gallery, Mod Squad, It Takes a Thief, The Big Valley, The Flying Nun, Vacation Playhouse, The Tammy Grimes Show,  The Wild Wild West, Burke's Law, The Rogues, The Farmer's Daughter, The Lloyd Bridges Show, The Dick Powell Theatre, Dr. Kildare, Checkmate, 87th Precinct, Zane Grey Theater, The Rifleman, Alfred Hitchcock Presents, Honky Tonk, and others.

Everything's Ducky (1961)
Ride the Wild Surf (1964)
Jack of Diamonds (1967)
The Five Man Army (1969)
Escape from the Planet of the Apes (1971)
Tom Sawyer (1973)
Echoes of a Summer (1976)
The Great Scout & Cathouse Thursday (1976)
The Island of Dr. Moreau (1977)
Damien: Omen II (1978)
The Final Countdown (1980)
The Diamond Trap (1988)

Selected filmography as actor
Passage 5:
Brian Kennedy (gallery director)
Brian Patrick Kennedy (born 5 November 1961) is an Irish-born art museum director who has worked in Ireland and Australia, and now lives and works in the United States.  He was the director of the Peabody Essex Museum in Salem for 17 months, resigning December 31, 2020. He was the director of the Toledo Museum of Art in Ohio from 2010 to 2019. He was the director of the Hood Museum of Art from 2005 to 2010, and the National Gallery of Australia (Canberra) from 1997 to 2004.

Career
Brian Kennedy currently lives and works in the United States after leaving Australia in 2005 to direct the Hood Museum of Art at Dartmouth College. In October 2010 he became the ninth Director of the Toledo Museum of Art. On 1 July 2019, he succeeded Dan Monroe as the executive director and CEO of the Peabody Essex Museum.

Early life and career in Ireland
Kennedy was born in Dublin and attended Clonkeen College. He received B.A. (1982), M.A. (1985) and PhD (1989) degrees from University College-Dublin, where he studied both art history and history.
He worked in the Irish Department of Education (1982), the European Commission, Brussels (1983), and in Ireland at the Chester Beatty Library (1983–85), Government Publications Office (1985–86), and Department of Finance (1986–89). He married Mary Fiona Carlin in 1988.He was Assistant Director at the National Gallery of Ireland in Dublin from 1989 to 1997. He was Chair of the Irish Association of Art Historians from 1996 to 1997, and of the Council of Australian Art Museum Directors from 2001 to 2003. In September 1997 he became Director of the National Gallery of Australia.

National Gallery of Australia (NGA)
Kennedy expanded the traveling exhibitions and loans program throughout Australia, arranged for several major shows of Australian art abroad, increased the number of exhibitions at the museum itself and oversaw the development of an extensive multi-media site.  Although he oversaw several years of the museum's highest ever annual visitation, he discontinued the emphasis of his predecessor, Betty Churcher, on showing "blockbuster" exhibitions.
During his directorship, the NGA gained government support for improving the building and significant private donations and corporate sponsorship. However, the initial design for the building proved controversial generating a public dispute with the original architect on moral rights grounds.  As a result, the project was not delivered during Dr Kennedy's tenure, with a significantly altered design completed some years later.  Private funding supported two acquisitions of British art, including David Hockney's A Bigger Grand Canyon in 1999, and Lucian Freud's After Cézanne in 2001. Kennedy built on the established collections at the museum by acquiring the Holmgren-Spertus collection of Indonesian textiles; the Kenneth Tyler collection of editioned prints, screens, multiples and unique proofs; and the Australian Print Workshop Archive. He was also notable for campaigning for the construction of a new "front" entrance to the Gallery, facing King Edward Terrace, which was completed in 2010 (see reference to the building project above).
Kennedy's cancellation of the "Sensation exhibition" (scheduled at the NGA from 2 June 2000 to 13 August 2000) was controversial, and seen by some as censorship. He claimed that the decision was due to the exhibition being "too close to the market" implying that a national cultural institution cannot exhibit the private collection of a speculative art investor. However, there were other exhibitions at the NGA during his tenure, which could have raised similar concerns. The exhibition featured the privately owned Young British Artists works belonging to Charles Saatchi and attracted large attendances in London and Brooklyn. Its most controversial work was Chris Ofili's The Holy Virgin Mary, a painting which used elephant dung and was accused of being blasphemous. The then-mayor of New York, Rudolph Giuliani, campaigned against the exhibition, claiming it was "Catholic-bashing" and an "aggressive, vicious, disgusting attack on religion." In November 1999, Kennedy cancelled the exhibition and stated that the events in New York had "obscured discussion of the artistic merit of the works of art". He has said that it "was the toughest decision of my professional life, so far."Kennedy was also repeatedly questioned on his management of a range of issues during the Australian Government's Senate Estimates process - particularly on the NGA's occupational health and safety record and concerns about the NGA's twenty-year-old air-conditioning system. The air-conditioning was finally renovated in 2003. Kennedy announced in 2002 that he would not seek extension of his contract beyond 2004, accepting a seven-year term as had his two predecessors.He became a joint Irish-Australian citizen in 2003.

Toledo Museum of Art
The Toledo Museum of Art is known for its exceptional collections of European and American paintings and sculpture, glass, antiquities, artist books, Japanese prints and netsuke. The museum offers free admission and is recognized for its historical leadership in the field of art education.  During his tenure, Kennedy has focused the museum's art education efforts on visual literacy, which he defines as "learning to read, understand and write visual language."   Initiatives have included baby and toddler tours, specialized training for all staff, docents, volunteers and the launch of a website, www.vislit.org. In November 2014, the museum hosted the International Visual Literacy Association (IVLA) conference, the first Museum to do so. Kennedy has been a frequent speaker on the topic, including 2010 and 2013 TEDx talks on visual and sensory literacy.
Kennedy has expressed an interest in expanding the museum's collection of contemporary art and art by indigenous peoples. Works by Frank Stella, Sean Scully, Jaume Plensa, Ravinder Reddy and Mary Sibande have been acquired.  In addition, the museum has made major acquisitions of Old Master paintings by Frans Hals and Luca Giordano.During his tenure the Toledo Museum of Art has announced the return of several objects from its collection due to claims the objects were stolen and/or illegally exported prior being sold to the museum.  In 2011 a Meissen sweetmeat stand was returned to Germany followed by an Etruscan Kalpis or water jug to Italy (2013), an Indian sculpture of Ganesha (2014) and an astrological compendium to Germany in 2015.

Hood Museum of Art
Kennedy became Director of the Hood Museum of Art in July 2005. During his tenure, he implemented a series of large and small-scale exhibitions and oversaw the production of more than 20 publications to bring greater public attention to the museum's remarkable collections of the arts of America, Europe, Africa, Papua New Guinea and the Polar regions. At 70,000 objects, the Hood has one of the largest collections on any American college of university campus. The exhibition, Black Womanhood: Images, Icons, and Ideologies of the African Body, toured several US venues. Kennedy increased campus curricular use of works of art, with thousands of objects pulled from storage for classes annually. Numerous acquisitions were made with the museum's generous endowments, and he curated several exhibitions: including Wenda Gu: Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry, Sean Scully: The Art of the Stripe, and Frank Stella: Irregular Polygons.

Publications
Kennedy has written or edited a number of books on art, including:

Alfred Chester Beatty and Ireland 1950-1968: A study in cultural politics, Glendale Press (1988), ISBN 978-0-907606-49-9
Dreams and responsibilities: The state and arts in independent Ireland, Arts Council of Ireland (1990), ISBN 978-0-906627-32-7
Jack B Yeats: Jack Butler Yeats, 1871-1957 (Lives of Irish Artists), Unipub (October 1991), ISBN 978-0-948524-24-0
The Anatomy Lesson: Art and Medicine (with Davis Coakley), National Gallery of Ireland (January 1992), ISBN 978-0-903162-65-4
Ireland: Art into History (with Raymond Gillespie), Roberts Rinehart Publishers (1994), ISBN 978-1-57098-005-3
Irish Painting, Roberts Rinehart Publishers (November 1997),  ISBN 978-1-86059-059-7
Sean Scully: The Art of the Stripe, Hood Museum of Art (October 2008), ISBN 978-0-944722-34-3
Frank Stella: Irregular Polygons, 1965-1966, Hood Museum of Art (October 2010), ISBN 978-0-944722-39-8

Honors and achievements
Kennedy was awarded the Australian Centenary Medal in 2001 for service to Australian Society and its art. He is a trustee and treasurer of the Association of Art Museum Directors, a peer reviewer for the American Association of Museums and a member of the International Association of Art Critics. In 2013 he was appointed inaugural eminent professor at the University of Toledo and received an honorary doctorate from Lourdes University. Most recently, Kennedy received the 2014 Northwest Region, Ohio Art Education Association award for distinguished educator for art education.

== Notes ==
Passage 6:
M. Krishnan Nair (director)
M. Krishnan Nair (2 November 1926 – 10 May 2001) was an Indian film director of Malayalam films. He directed over 100 films. He also directed 18 Tamil movie including  four films starring M. G. Ramachandran and two Telugu movies, one each with superstars N. T. Rama Rao and Krishna Eminent filmmakers including Hariharan, K. Madhu, S. P. Muthuraman, Bharathiraja and Joshiy apprenticed under him as assistant directors.In 2000, he was honoured with the J. C. Daniel Award, Kerala government's highest honour for contributions to Malayalam cinema.

Personal life
He was married to K. Sulochana Devi, and had three sons. His eldest son K. Jayakumar is a poet, lyricist and a former bureaucrat who currently serves as the Vice Chancellor of Malayalam University. His second son is Harikumar, while his youngest son Sreekumar Krishnan Nair is a film director best known for directing O' Faby, India's first live-action/animation hybrid feature film.

Selected filmography
1987 Kalam Mari Katha Mari
1985 Puzhayozhukum Vazhi
1984 Manithali
1983 Maniyara
1983 Paalam
1982 Mylanji
1982 Oru Kunju Janikkunnu
1980 Dwik Vijayam
1980 Rajaneegandhi
1979 Ajnatha Theerangal
1979 Kalliyankattu Neeli
1979 Oru Raagam Pala Thaalam
1978 Ashoka Vanam
1978 Aval Kanda Lokam
1978 Ithanente Vazhi
1978 Rowdy Ramu
1978 Urakkom Varaatha Rathrikal
1977 Madhura Swapanam
1977 Santha Oru Devatha
1977 Thaalappoly
1977 Yatheem
1976 Amma
1976 Neela Sari
1976 Oorukku Uzhaippavan (Tamil)
1974 Suprabhatham
1973 Bhadradeepam
1973 Thottavadi
1973 Yamini
1973 Thalai Prasavam (Tamil)
1972 Manthrakodi
1972 Naan Yen Pirandhen (Tamil)
1972 Annamitta Kai (Tamil)
1971 Rickshawkaran (Tamil)
1971 Agnimrigam
1971 Tapaswini
1970 Bheekara Nimishangal
1970 Chitti Chellelu (Telugu)
1970 Detective 909
1970 Palunkupaathram
1970 Sabarimala Shri Dharmasastha
1970 Tara
1970 Vivahitha
1969 Anaachadanam
1969 Mannippu (Tamil)
1969 Jwala
1969 Maganey Nee Vazhga (Tamil)
1969 Padicha Kallan
1968 Circar Express (Telugu)
1968 Agni Pareeksha
1968 Anchu Sundariakal
1968 Inspector
1968 Kadal
1968 Karthika
1968 Paadunna Puzha
1968 Muthu Chippi (Tamil)
1967 Agniputhri
1967 Cochin Express
1967 Collector Malathy
1967 Kaanatha Veshangal
1967 Khadeeja
1967 Kudumbam (Tamil)
1966 Kalithozhan
1966 Kalyana Rathriyil
1966 Kanaka Chilanga
1966 Kusruthy Kuttan
1966 Pinchu Hridhayam
1965 Kadathukaran
1965 Kathirunna Nikah
1965 Kattu Thulasi
1965 Kavya Mela
1964 Bharthavu
1964 Karutha Kai
1964 Kutti Kuppayam
1963 Kaattu Mynah
1962 Viyarpintae Vila
1960 Aalukkoru Veedu (Tamil)
1955 Aniyathi
1955 C.I.D
Passage 7:
Drew Esocoff
Drew Esocoff (born c. 1957) is an American television sports director, who as of 2006 has been the director of NBC Sunday Night Football.

Early life
Esocoff was born in Elizabeth, New Jersey, graduating from Thomas Jefferson High School in 1975, later attending Colgate University. While in college he worked as a substitute teacher at Elizabeth High School where one of his students was Todd Bowles.

Career
Esocoff has worked for ESPN and ABC, serving as director for Monday Night Football, SportsCenter, and the NBA Finals, as well as five Super Bowls. Since 2006, he has served as director for NBC Sunday Night Football.
As of 2015, Esocoff has won 11 Emmy Awards.
Passage 8:
Karthika (film)
Karthika is a 1968 Indian Malayalam film, directed by M. Krishnan Nair and produced by V. M. Sreenivasan and A. R. Divakar. The film stars Sathyan, Sharada, Adoor Bhasi, Ummar and Manavalan Joseph in the lead roles. The film had musical score by M. S. Baburaj.

Cast
Sarada as Kaarthika
Sathyan
K. P. Ummer
Prem Nawas
Mallika Sukumaran as Devaki
Usharani as Janu
Meena

Soundtrack
The music was composed by M. S. Baburaj and the lyrics were written by Yusufali Kechery.
Passage 9:
Elliot Silverstein
Elliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).

Career
Elliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.
The other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.
Other work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.
While Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.

Awards
In 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.
He was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).
In 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.
In 1990, he was awarded the DGA Honorary Life Member Award.

Personal life
Silverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.
He currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.

Filmography
Tales from the Crypt (TV Series) (1991–94)
Picket Fences (TV Series) (1993)
Rich Men, Single Women (TV Movie) (1990)
Fight for Life (TV Movie) (1987)
Night of Courage (TV Movie) (1987)
Betrayed by Innocence (TV Movie) (1986)
The Firm (TV Series) (1982–1983)
The Car (1977)
Nightmare Honeymoon (1974)
A Man Called Horse (1970)
The Happening (1967)
Cat Ballou (1965)
Kraft Suspense Theatre (TV Series) (1963–64)
The Defenders (TV Series) (1962–64)
Arrest and Trial (TV Series) (1964)
The Doctors and the Nurses (TV Series) (1962–64)
Twilight Zone (TV Series) (1961–64)
Breaking Point (TV Series) (1963)
Dr. Kildare (TV Series) (1961–63)
The Dick Powell Theatre (TV Series) (1962)
Belle Sommers (TV Movie) (1962)
Naked City (TV Series) (1961–62)
Have Gun - Will Travel (TV Series) (1961)
Route 66 (TV Series) (1960–61)
Checkmate (TV Series) (1961)
The Westerner (TV Series) (1960)
Assignment: Underwater (TV Series) (1960)
Black Saddle (TV Series) (1960)
Suspicion (TV Series) (1958)
Omnibus (TV Series) (1954–56)
Passage 10:
Ben Palmer
Ben Palmer (born 1976) is a British film and television director.
His television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).

Biography
Palmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.

Filmography
Bo' Selecta! (2002–06)
Comedy Lab (2004–2010)
Bo! in the USA (2006)
The Inbetweeners (2009–2010)
The Inbetweeners Movie (2011)
Comedy Showcase (2012)
Milton Jones's House of Rooms (2012)
Them from That Thing (2012)
Bad Sugar (2012)
Chickens (2013)
London Irish (2013)
Man Up (2015)
SunTrap (2015)
BBC Comedy Feeds (2016)
Nigel Farage Gets His Life Back (2016)
Back (2017)
Comedy Playhouse (2017)
Urban Myths (2017–19)
Click & Collect (2018)
Semi-Detached (2019)
Breeders (2020)


Passage 1:
Ann Sheridan
Clara Lou "Ann" Sheridan (February 21, 1915 – January 21, 1967) was an American actress and singer. She is best known for her roles in the films San Quentin (1937) with Humphrey Bogart, Angels with Dirty Faces (1938) with James Cagney and Bogart, They Drive by Night (1940) with George Raft and Bogart, City for Conquest (1940) with Cagney and Elia Kazan, The Man Who Came to Dinner (1942) with Bette Davis, Kings Row (1942) with Ronald Reagan, Nora Prentiss (1947), and I Was a Male War Bride (1949) with Cary Grant.

Early life
Clara Lou Sheridan was born in Denton, Texas, on February 21, 1915, the youngest of five children (Kitty, Pauline, Mabel and George) of garage mechanic George W. Sheridan and Lula Stewart (née Warren). According to Sheridan, her father was a grandnephew of Civil War Union general Philip Sheridan.She was active in dramatics at Denton High School and at North Texas State Teachers College. She also sang with the college's stage band and played basketball on the North Texas women's basketball team. Then, in 1933, Sheridan won the prize of a bit part in an upcoming Paramount film, Search for Beauty, when her sister Kitty entered Sheridan's photograph into a beauty contest.

Career
Paramount
After the release of Search for Beauty in 1934, Paramount put the 19-year-old under contract at a starting salary of $75 a week ($1,641 today), where she played mostly uncredited bit parts for the next two years. She can be glimpsed in the following 1934 films, and if credited, as Clara Lou Sheridan: Bolero, Come On Marines!, Murder at the Vanities, Shoot the Works, Kiss and Make-Up with Cary Grant, The Notorious Sophie Lang, College Rhythm (directed by Norman Taurog whom Sheridan admired), Ladies Should Listen with Cary Grant, You Belong to Me, Wagon Wheels, The Lemon Drop Kid with Lee Tracy, Mrs. Wiggs of the Cabbage Patch, Ready for Love, Limehouse Blues with George Raft and Anna May Wong, and One Hour Late.
Along with fellow contractees, Sheridan worked with Paramount's drama coach Nina Mouise and performed on the studio lot in such plays as The Milky Way and The Pursuit of Happiness. While in The Milky Way, Paramount decided to change her first name from Clara Lou to the same as her character Ann.Sheridan was then cast in the film Behold My Wife! (1934) at the behest of director and friend Mitchell Leisen. The role provided two standout scenes for the actress, including one in which her character commits suicide, to which she attributed Paramount's keeping her under contract.She continued with bit parts in Enter Madame (1935) with Elissa Landi and Cary Grant, Home on the Range (1935) with Randolph Scott and Evelyn Brent, and Rumba (1935) with George Raft and Carole Lombard, until her first lead role in Car 99 (1935), with Fred MacMurray. "No acting, it was just playing the lead, that's all", she later said. She next had a support role as the romantic interest in Rocky Mountain Mystery (1935), a Randolph Scott Western.
She then appeared in Mississippi (1935) with Bing Crosby and W. C. Fields, The Glass Key (1935) with George Raft in a brief speaking role for which she was billed as "Nurse" in the cast list at the end of the film, and (having one line) The Crusades (1935) with Loretta Young. In her last picture under her deal with Paramount, the studio loaned her out to Poverty Row production company Talisman to make The Red Blood of Courage (1935) with Kermit Maynard. After this, Paramount declined to renew her contract. Sheridan made Fighting Youth (1935) at Universal and then signed a contract with Warner Bros. in 1936.

Warner Bros.
Sheridan's career prospects began to improve at her new studio. Her early films for Warner Bros. included Sing Me a Love Song (1936); Black Legion (1937) with Humphrey Bogart; The Great O'Malley (1937) with Pat O'Brien and Bogart, her first real break; San Quentin (1937), with O'Brien and Bogart, singing for the first time in a film; and Wine, Women and Horses (1937) with Barton MacLane.Sheridan moved into B picture leads: The Footloose Heiress (1937); Alcatraz Island (1937) with John Litel; and She Loved a Fireman (1937) with Dick Foran for director John Farrow. She was a lead in The Patient in Room 18 (1937) and its sequel Mystery House (1938). Sheridan was in Little Miss Thoroughbred (1938) with Litel for Farrow and supported Dick Powell in Cowboy from Brooklyn (1938).Universal borrowed her for a support role in Letter of Introduction (1938) at the behest of director John M. Stahl. For Farrow, she was in Broadway Musketeers (1938), a remake of Three on a Match (1932).
Sheridan's notices in Letter of Introduction impressed Warner Bros. executives and she began to get roles in better quality pictures at her own studio starting with Angels with Dirty Faces (1938), wherein she played James Cagney's love interest; Bogart, O'Brien and the Dead End Kids had supporting roles. The film was a big hit and critically acclaimed.
Sheridan was reunited with the Dead End Kids in They Made Me a Criminal (1938) starring John Garfield. She was third-billed in the Western Dodge City (1939), playing a saloon owner opposite Errol Flynn and Olivia de Havilland. The film was another success.

Oomph girl
In March 1939, Warner Bros. announced Sheridan had been voted by a committee of 25 men as the actress with the most "oomph" in America. "Oomph" was described as "a certain indefinable something that commands male interest".She received as many as 250 marriage proposals from fans in a single week. Sheridan reportedly loathed the sobriquet that made her a popular pin-up girl in the early 1940s. However, she expressed in a February 25, 1940, news story distributed by the Associated Press that she no longer "bemoaned the "oomph" tag." She continued, "But I'm sorry now. I know if it hadn't been for "oomph" I'd probably still be in the chorus."This was later referenced and spoofed on the 1941 animated short Hollywood Steps Out.

Stardom
Sheridan co-starred with Dick Powell in Naughty but Nice (1939) and played a wacky heiress in Winter Carnival (1939).
She was top billed in Indianapolis Speedway (1939) with O'Brien and Angels Wash Their Faces (1939) with the Dead End Kids and Ronald Reagan. Castle on the Hudson (1940) put her opposite Garfield and O'Brien.

Sheridan's first real starring vehicle was It All Came True (1940), a musical comedy costarring Bogart and Jeffrey Lynn. She introduced the song "Angel in Disguise".
Sheridan and Cagney were reunited in Torrid Zone (1940) with O'Brien in support. She was with George Raft, Bogart and Ida Lupino in They Drive by Night (1940), a smash-hit trucking melodrama. Sheridan was back with Cagney for City for Conquest (1941) and then made Honeymoon for Three (1941), a comedy with George Brent.

Sheridan did two lighter films: Navy Blues (1941), a musical comedy, and The Man Who Came to Dinner (1942) with Bette Davis, wherein she played a character modeled on Gertrude Lawrence. She then made Kings Row (1942), in which she received top billing playing opposite Ronald Reagan, Robert Cummings, and Betty Field. It was a major success and one of Sheridan's most memorable films.
Sheridan and Reagan were reunited for Juke Girl (1942) released about six weeks after Kings Row. She was in the war film Wings for the Eagle (1942) and made a comedy with Jack Benny, George Washington Slept Here (1943). She played a Norwegian resistance fighter in Edge of Darkness (1943) with Errol Flynn and was one of the many Warner Bros., stars who had cameos in Thank Your Lucky Stars (1943).
She was the heroine of a novel, Ann Sheridan and the Sign of the Sphinx, written by Kathryn Heisenfelt and published by Whitman Publishing Company in 1943. While the heroine of the story was identified as a famous actress, the stories were entirely fictitious. The story was probably written for a young teenaged audience and is reminiscent of the adventures of Nancy Drew. It is part of a series known as "Whitman Authorized Editions", 16 books published between 1941 and 1947 that always featured a film actress as heroine.Sheridan was given the lead in the musical Shine On, Harvest Moon (1944), playing Nora Bayes, opposite Dennis Morgan. She was in a comedy The Doughgirls (1944).
Sheridan was absent from screens for over a year, touring with the USO to perform in front of the troops as far afield as China. She returned in One More Tomorrow (1946) with Morgan. She had an excellent role in the noir Nora Prentiss (1947), which was a hit. It was followed by The Unfaithful (1948), a remake of The Letter, and Silver River (1948), a Western melodrama with Errol Flynn.
Leo McCarey borrowed her to support Gary Cooper in Good Sam (1948). She was meant to star in Flamingo Road. She then left Warner Bros., saying: "I wasn't at all satisfied with the scripts they offered me."

Freelance star
Her role in I Was a Male War Bride (1949), directed by Howard Hawks and starring Cary Grant, was another success. In 1950, she appeared on the ABC musical television series Stop the Music.
She made Stella (1950), a comedy with Victor Mature at Fox.
In April 1949, she announced she wanted to produce Second Lady, a film based on a story by Eleanore Griffin. She was going to make My Forbidden Past (originally titled Carriage Entrance) at RKO. They fired her and Sheridan sued for $250,000 (equivalent to $3.1 million today) The New York Times reported the amount as $350,000 ($4.3 million today). Sheridan ultimately won $55,162 ($680,000 today).

Universal
Sheridan made Woman on the Run (1950), a noir also starring Dennis O'Keefe which she produced. She wanted to make a film called Her Secret Diary.Woman on the Run was distributed by Universal, and Sheridan signed a contract with that studio. While there, she made Steel Town (1952), Just Across the Street (1952), and Take Me to Town (1953), a comedy with Sterling Hayden that was the first film directed by Douglas Sirk in the United States.

Later career
Sheridan starred with Glenn Ford in Appointment in Honduras (1953), directed by Jacques Tourneur. She appeared opposite Steve Cochran in Come Next Spring (1956) and was one of several stars in MGM's The Opposite Sex (1956), a remake of The Women starring June Allyson, Joan Collins, Dolores Gray, Sheridan and Ann Miller. Her last film, Woman and the Hunter (1957), was shot in Africa.She performed in stage tours of Kind Sir (1958) and Odd Man In (1959), and The Time of Your Life at the Brussels World Fair in 1958. In all three shows, she acted with Scott McKay, whom she later married.In 1962, she played the lead in the Western series Wagon Train episode titled "The Mavis Grant Story".
In the mid-1960s, Sheridan appeared on the NBC soap opera Another World.Her final role was as Henrietta Hanks in the television comedy Western series Pistols 'n' Petticoats, which was filmed while she became increasingly ill in 1966, and was broadcast on CBS on Saturday nights. The 19th episode of the series, "Beware the Hangman", aired as scheduled on the same day that she died in 1967.For her contributions to the motion picture industry, Ann Sheridan has a star on the Hollywood Walk of Fame at 7024 Hollywood Boulevard.

Personal life
Sheridan married actor Edward Norris August 16, 1936, in Ensenada, Mexico. They separated a year later and divorced in 1939. On January 5, 1942, she married fellow Warner Bros. star George Brent, who co-starred with her in Honeymoon for Three (1941); they divorced exactly one year later. Following her divorce from Brent, she had a long-term relationship with publicist Steve Hannagan that lasted until his death in 1953. Hannagan bequeathed Sheridan $218,399 (equivalent to $2.4 million today).Sheridan engaged in a romantic affair with Mexican actor Rodolfo Acosta, with whom she appeared in 1953's Appointment in Honduras.  She and the married Acosta shared an apartment in Mexico City for several years, and Sheridan was charged with criminal adultery in Mexican federal court in October, 1956, following an accusation by Acosta's wife, Jeanine Cohen Acosta.  Mexican authorities issued a warrant for Sheridan's arrest.  Nothing came of the criminal charges, and the relationship ended c. 1958.On June 5, 1966, Sheridan married actor Scott McKay, who was with her when she died, seven months later.Sheridan supported Thomas E. Dewey in the 1948 presidential elections.

Death
In 1966, Sheridan began starring in a new television series, a Western-themed comedy called Pistols 'n' Petticoats. She became ill during the filming and died of esophageal cancer with massive liver metastases at age 51 on January 21, 1967, in Los Angeles. She was cremated and her ashes were stored at the Chapel of the Pines Crematory in Los Angeles until they were interred in a niche in the Chapel Columbarium at the Hollywood Forever Cemetery in 2005.

Filmography
Radio appearances
Passage 2:
Jack A Cooper (athlete)
Jack A. Cooper was a male athlete who competed for England.

Athletics career
He competed for England in the 880 yards at the 1934 British Empire Games in London.
Passage 3:
H. Bruce Humberstone
H. Bruce "Lucky" Humberstone (November 18, 1901 – October 11, 1984) was an American film director. He was previously a movie actor (as a child), a script clerk, and an assistant director, working with directors such as King Vidor, Edmund Goulding, and Allan Dwan.

Early years
Humberstone was born in Buffalo, New York, and attended Miami Military Academy in Miami, Florida.

Film
One of 28 founders of the Directors Guild of America, Humberstone worked on several silent movie films for 20th Century Fox. Humberstone did not specialize; he worked on comedies, dramas, and melodramas. Humberstone is best known today for the seminal film noir I Wake Up Screaming (1941) and his work on some of the Charlie Chan films. In the 1950s, Humberstone worked mostly on TV. He retired in 1966.

Recognition
Humberstone has a star on the Hollywood Walk of Fame.

Death
Humberstone died of pneumonia in Woodland Hills, California, on October 11, 1984, aged 82, and was buried at the Hollywood Forever Cemetery in Hollywood, California.

Partial filmography as director
Passage 4:
South Sea Sinner
South Sea Sinner is a 1950 American adventure film directed by H. Bruce Humberstone and starring Macdonald Carey and Shelley Winters. It is a remake of Seven Sinners (1940). Liberace has a small role.

Plot
A cafe owner on a South Sea island plays a dangerous game of blackmail with a fugitive from justice.

Cast
Macdonald Carey as 'Jake' Davis
Shelley Winters as Coral
Luther Adler as Cognac
Frank Lovejoy as Doc
Helena Carter as Margaret Landis
Art Smith as Grayson
Liberace as Maestro

Production
South Sea Sinner was known as East of Java during filming. Helena Carter replaced Dorothy Hart. Star Macdonald Carey was borrowed from Paramount.
Filming took place in July 1949. Winters was accused of having a number of temperamental outbursts on set including a clash with Helena Carter. Winters admitted to being "nervous and tired" after making three films in five months and was "unused" to Humbersome's "close direction during song and dance scenes." She said she had to perform "a suggestive dance" when some exhibitors and their families visit the set and she was upset when an eight-year-old boy filmed her; she asked that he be removed to where she couldn't see him.

Reception
The New York Times called it a "ridiculously romance-soggy film which has about as much South Seas flavour as a roadside papaya bar."Filmink called it "an okay film, not as good as the one it was remaking... most notable for giving a small role to Liberace. Winters gets all the sympathy here... but it is nice to see several scenes where Carter and Winters are friendly to each other...Carter doesn’t seem particularly enthusiastic in this one."
Passage 5:
Howard Hawks
Howard Winchester Hawks (May 30, 1896 – December 26, 1977) was an American film director, producer, and screenwriter of the classic Hollywood era. Critic Leonard Maltin called him "the greatest American director who is not a household name."  Roger Ebert called Hawks "one of the greatest American directors of pure movies, and a hero of auteur critics because he found his own laconic values in so many different kinds of genre material." He was nominated for the Academy Award for Best Director for Sergeant York (1941) and earned the Honorary Academy Award in 1974.
A versatile film director, Hawks explored many genres such as comedies, dramas, gangster films, science fiction, film noir, war films, and westerns. His most popular films include Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959). His frequent portrayals of strong, tough-talking female characters came to define the "Hawksian woman".

Early life and background
Howard Winchester Hawks was born in Goshen, Indiana. He was the first-born child of Frank Winchester Hawks (1865–1950), a wealthy paper manufacturer, and his wife, Helen Brown (née Howard; 1872–1952), the daughter of a wealthy industrialist. Hawks's family on his father's side were American pioneers, and his ancestor John Hawks had emigrated from England to Massachusetts in 1630. The family eventually settled in Goshen and by the 1890s was one of the wealthiest families in the Midwest, due mostly to the highly profitable Goshen Milling Company.Hawks's maternal grandfather, C. W. Howard (1845–1916), had homesteaded in Neenah, Wisconsin, in 1862 at age 17. Within 15 years he had made his fortune in the town's paper mill and other industrial endeavors. Frank Hawks and Helen Howard met in the early 1890s and married in 1895. Howard Hawks was the eldest of five children, and his birth was followed by Kenneth Neil Hawks (August 12, 1898 – January 2, 1930), William Bellinger Hawks (January 29, 1901 – January 10, 1969), Grace Louise Hawks (October 17, 1903 – December 23, 1927), and Helen Bernice Hawks (1906 – May 4, 1911). In 1898, the family moved back to Neenah where Frank Hawks began working for his father-in-law's Howard Paper Company.Between 1906 and 1909, the Hawks family began to spend more time in Pasadena, California, during the cold Wisconsin winters in order to improve Helen Hawks's ill health. Gradually, they began to spend only their summers in Wisconsin before permanently moving to Pasadena in 1910. The family settled in a house down the street from Throop Polytechnic Institute, and the Hawks children began attending the school's Polytechnic Elementary School in 1907. Hawks was an average student and did not excel in sports, but by 1910 had discovered coaster racing, an early form of soapbox racing. In 1911, Hawks's youngest sibling, Helen, died suddenly of food poisoning. From 1910 to 1912, Hawks attended Pasadena High School. In 1912, the Hawks family moved to nearby Glendora, California, where Frank Hawks owned orange groves. Hawks finished his junior year of high school at Citrus Union High School in Glendora. During this time he worked as a barnstorming pilot.He was sent to Phillips Exeter Academy in New Hampshire from 1913 to 1914; his family's wealth may have influenced his acceptance to the elite private school. Even though he was 17, he was admitted as a lower middleclassman, the equivalent of a sophomore. While in New England, Hawks often attended the theaters in nearby Boston. In 1914, Hawks returned to Glendora and graduated from Pasadena High School that year. Skilled in tennis, by 18 years old, Hawks won the United States Junior Tennis Championship. That same year, Hawks was accepted to Cornell University in Ithaca, New York, where he majored in mechanical engineering and was a member of Delta Kappa Epsilon. His college friend Ray S. Ashbury remembered Hawks spending more of his time playing craps and drinking alcohol than studying, although Hawks was also known to be a voracious reader of popular American and English novels in college.While working in the film industry during his 1916 summer vacation, Hawks made an unsuccessful attempt to transfer to Stanford University. He returned to Cornell that September, leaving in April 1917 to join the Army when the United States entered World War I. He served as a lieutenant in the Aviation Section, U.S. Signal Corps. During World War I, he taught aviators to fly, and he used these experiences as influence for future aviation films such as The Dawn Patrol (1930). Like many college students who joined the armed services during the war, he received a degree in absentia in 1918. Before Hawks was called for active duty, he returned to Hollywood and, by the end of April 1917, was working on a Cecil B. DeMille film.

Career
Entering films (1916–1925)
Howard Hawks's interest and passion for aviation led him to many important experiences and acquaintances. In 1916, Hawks met Victor Fleming, a Hollywood cinematographer who had been an auto mechanic and early aviator. Hawks had begun racing and working on a Mercer race car—bought for him by his grandfather C.W. Howard—during his 1916 summer vacation in California. He allegedly met Fleming when the two men raced on a dirt track and caused an accident. This meeting led to Hawks's first job in the film industry, as a prop boy on the Douglas Fairbanks film In Again, Out Again (on which Fleming was employed as the cinematographer) for Famous Players–Lasky. According to Hawks, a new set needed to be built quickly when the studio's set designer was unavailable, so Hawks volunteered to do the job himself, much to Fairbanks's satisfaction. He was next employed as a prop boy and general assistant on an unspecified film directed by Cecil B. DeMille. (Hawks never named the film in later interviews, and DeMille made roughly five films in that time period). By the end of April 1917, Hawks was working on Cecil B. DeMille's The Little American. Hawks then worked on the Mary Pickford film The Little Princess, directed by Marshall Neilan. According to Hawks, Neilan did not show up to work one day, so the resourceful Hawks offered to direct a scene himself, to which Pickford consented.Hawks began directing at age 21 after he and cinematographer Charles Rosher filmed a double exposure dream sequence with Mary Pickford. Hawks worked with Pickford and Neilan again on Amarilly of Clothes-Line Alley before joining the United States Army Air Service. Hawks's military records were destroyed in the 1973 Military Archive Fire, so the only account of his military service is his own. According to Hawks, he spent 15 weeks in basic training at the University of California in Berkeley where he was trained to be a squadron commander in the air force. When Pickford visited Hawks at basic training, his superior officers were so impressed by the appearance of the celebrity that they promoted him to flight instructor and sent him to Texas to teach new recruits. Bored by this work, Hawks attempted to secure a transfer during the first half of 1918 and was eventually sent to Fort Monroe, Virginia. The Armistice was signed in November of that year, and Hawks was discharged as a Second Lieutenant without having seen active duty.After the war, Hawks was eager to return to Hollywood. His brother Kenneth Hawks, who had also served in the Air Force, graduated from Yale University in 1919, and the two of them moved to Hollywood together to pursue their careers. They quickly made friends with Hollywood insider (and fellow Ivy Leaguer) Allan Dwan. Hawks landed his first important job when he used his family's wealth to loan money to studio head Jack L. Warner. Warner quickly paid back the loan and hired Hawks as a producer to "oversee" the making of a new series of one-reel comedies starring the Italian comedian Monty Banks. Hawks later stated that he personally directed "three or four" of the shorts, though no documentation exists to confirm the claim. The films were profitable, but Hawks soon left to form his own production company using his family's wealth and connections to secure financing. The production company, Associated Producers, was a joint venture between Hawks, Allan Dwan, Marshall Neilan, and director Allen Holubar, with a distribution deal with First National. The company made 14 films between 1920 and 1923, with eight directed by Neilan, three by Dwan and three by Holubar. More of a "boy's club" than a production company, the four men gradually drifted apart and went their separate ways in 1923, by which time Hawks had decided that he wanted to direct rather than produce.Beginning in early 1920, Hawks lived in rented houses in Hollywood with the group of friends he was accumulating. This rowdy group of mostly macho, risk-taking men included his brother Kenneth Hawks, Victor Fleming, Jack Conway, Harold Rosson, Richard Rosson, Arthur Rosson, and Eddie Sutherland. During this time, Hawks first met Irving Thalberg, the vice-President in charge of production at Metro-Goldwyn-Mayer. Hawks admired his intelligence and sense of story. Hawks also became friends with barn stormers and pioneer aviators at Rogers Airport in Los Angeles, getting to know men like Moye Stephens.
In 1923, Famous Players–Lasky president Jesse Lasky was looking for a new Production Editor in the story department of his studio, and Thalberg suggested Hawks. Hawks accepted and was immediately put in charge of over 40 productions, including several literary acquisitions of stories by Joseph Conrad, Jack London, and Zane Grey. Hawks worked on the scripts for all of the films produced, but he had his first official screenplay credit in 1924 on Tiger Love. Hawks was the Story Editor at Famous Players (later Paramount Pictures) for almost two years, occasionally editing such films as Heritage of the Desert. Hawks signed a new one-year contract with Famous-Players in the fall of 1924. He broke his contract to become a story editor for Thalberg at MGM, having secured a promise from Thalberg to make him a director within a year. In 1925, when Thalberg hesitated to keep his promise, Hawks broke his contract at MGM and left.

Silent films (1925–1929)
In October 1925, Sol Wurtzel, William Fox's studio superintendent at the Fox Film Corporation, invited Hawks to join his company with the promise of letting Hawks direct. Over the next three years, Hawks directed his first eight films (six silent, two "talkies"). Hawks reworked the scripts of most of the films he directed without always taking official credit for his work. He also worked on the scripts for Honesty – The Best Policy in 1926 and Joseph von Sternberg's Underworld in 1927, famous for being one of the first gangster films. Hawks's first film was The Road to Glory which premiered in April 1926. The screenplay was based on a 35-page composition written by Howard Hawks. This represented one of the only films on which Hawks had extensive writing credit. It is one of Hawks's only two lost films.  Immediately after completing The Road to Glory, Hawks began writing his next film, Fig Leaves, his first (and, until 1935, only) comedy. It received positive reviews, particularly for the art direction and costume designs. It was released in July 1926 and was Hawks's first hit as a director. Although he mainly dismissed his early work, Hawks praised this film in later interviews.Paid to Love is notable in Hawks's filmography, because it was a highly stylized, experimental film. He attempted to imitate the style of German film director F. W. Murnau. Hawks's film includes atypical tracking shots, expressionistic lighting and stylistic film editing that was inspired by German Expressionist cinema. In a later interview, Hawks commented, "It isn't my type of stuff, at least I got it over in a hurry. You know the idea of wanting the camera to do those things: Now the camera's somebody's eyes." Hawks worked on the script with Seton I. Miller, with whom he would go on to collaborate on seven more films. The film stars George O'Brien as the introverted Crown Prince Michael, William Powell as his happy-go-lucky brother, and Virginia Valli as Michael's flapper love interest Dolores. The characters played by Valli and O'Brien anticipate those found in later films by Hawks: a sexually aggressive showgirl, who is an early prototype of the "Hawksian woman", and a shy man disinterested in sex, found in later roles played by Cary Grant and Gary Cooper. Paid to Love was completed by September 1926, but remained unreleased until July 1927. It was financially unsuccessful. Cradle Snatchers was based on a 1925 hit stage play by Russell G. Medcraft and Norma Mitchell. The film was shot in early 1927. The film was released in May 1927 and was a minor hit. For many years it was believed to be a lost film until film director Peter Bogdanovich discovered a print in 20th Century Fox's film vaults, although the print was missing part of reel three and all of reel four. In March 1927, Hawks signed a new one-year, three-picture contract with Fox and was assigned to direct Fazil, based on the play L'Insoumise by Pierre Frondaie. Hawks again worked with Seton Miller on the script. Hawks was over schedule and over budget on the film, which began a rift between him and Sol Wurtzel that would eventually lead to Hawks leaving Fox. The film was finished in August 1927, though it was not released until June 1928.
A Girl in Every Port is considered by film scholars to be the most important film of Hawks's silent career. It is the first of his films to utilize many of the Hawksian themes and characters that would define much of his subsequent work. It was his first "love story between two men", with two men bonding over their duty, skills, and careers, who consider their friendship to be more important than their relationships with women. In France, Henri Langlois called Hawks "the Gropius of the cinema" and Swiss novelist and poet Blaise Cendrars said that the film "definitely marked the first appearance of contemporary cinema." Hawks went over budget once again with this film, and his relationship with Sol Wurtzel deteriorated. After an advance screening that received positive reviews, Wurtzel told Hawks, "This is the worst picture Fox has made in years." The Air Circus was Hawks's first film centered around aviation, one of his early passions. In 1928, Charles Lindbergh was the world's most famous person and Wings was one of the most popular films of the year. Wanting to capitalize on the country's aviation craze, Fox immediately bought Hawks's original story for The Air Circus, a variation of the male friendship plot of A Girl in Every Port about two young pilots. The film was shot from April to June 1928, but Fox ordered an additional 15 minutes of dialogue footage in order that the film could compete with the new "talkies" being released. Hawks hated the new dialogue written by Hugh Herbert, and he refused to participate in the re-shoots. The film was released in September 1928 and was a moderate hit. It is one of two films directed by Hawks that are lost films.Trent's Last Case is an adaptation of British author E. C. Bentley's 1913 novel of the same name. Hawks considered the novel to be "one of the greatest detective stories of all time" and was eager to make it his first sound film. He cast Raymond Griffith in the lead role of Phillip Trent. Griffith's throat had been damaged by poison gas during World War I, and his voice was a hoarse whisper, prompting Hawks to later state, "I thought he ought to be great in talking pictures because of that voice." However, after shooting only a few scenes, Fox shut Hawks down and ordered him to make a silent film, both because of Griffith's voice and because they only owned the legal rights to make a silent film. The film did have a musical score and synchronized sound effects but no dialogue. Due to the failing business of silent films, it was never released in the US and only briefly screened in England where film critics hated it. The film was believed lost until the mid-1970s and was screened for the first time in the US at a Hawks retrospective in 1974. Hawks was in attendance of the screening and attempted to have the only print of the film destroyed. Hawks's contract with Fox ended in May 1929, and he never again signed a long-term contract with a major studio. He managed to remain an independent producer-director for the rest of his long career.

Early sound films (1930–1934)
By 1930, Hollywood was in upheaval over the coming of "talkies", and the careers of many actors and directors were ruined. Hollywood studios were recruiting stage actors and directors that they believed were better suited for sound films. After having worked in the industry for 14 years and directed many financially successful films, Hawks found himself having to prove himself an asset to the studios once again. Leaving Fox on sour terms did not help his reputation, but Hawks never backed down from fights with studio heads. After several months of unemployment, Hawks renewed his career with his first sound film in 1930.
Hawks's first all-sound film was The Dawn Patrol, based on an original story by John Monk Saunders and (unofficially) Hawks. Reportedly, Hawks paid Saunders to put his name on the film, so that Hawks could direct the film without arousing concern due to his lack of writing experience. Accounts vary on who came up with the idea of the film, but Hawks and Saunders developed the story together and tried to sell it to several studios before First National agreed to produce it. Shooting began in late February 1930, about the same time that Howard Hughes was finishing his epic World War I aviation epic Hell's Angels, which had been in production since September 1927. Shrewdly, Hawks began to hire many of the aviation experts and cameramen that had been employed by Hughes, including Elmer Dyer, Harry Reynolds, and Ira Reed. When Hughes found out about the rival film, he did everything he could to sabotage The Dawn Patrol. He harassed Hawks and other studio personnel, hired a spy that was quickly caught, and finally sued First National for copyright infringement. Hughes eventually dropped the lawsuit in late 1930—he and Hawks had become good friends during the legal battle. Filming was finished in late May 1930, and it premiered in July, setting a first-week box office record at the Winter Garden Theatre in New York. The film became one of the biggest hits of 1930. The success of this film allowed Hawks to gain respect in the field of filmmaking and allowed him to spend the rest of his career as an independent director without the necessity to sign any long-term contracts with specific studios.
Hawks did not get along with Warner Brothers executive Hal B. Wallis, and his contract allowed him to be loaned out to other studios. Hawks took the opportunity to accept a directing offer from Harry Cohn at Columbia Pictures. The film opened in January 1931 and was a hit. The film was banned in Chicago, and experienced censorship, which would continue in his next film project. In 1930, Howard Hughes hired Hawks to direct Scarface, a gangster film loosely based on the life of Chicago mobster Al Capone. The film was completed in September 1931, but the censorship of the Hays Code prevented it from being released as Hawks and Hughes had originally intended. The two men fought, negotiated, and made compromises with the Hays Office for over a year, until the film was eventually released in 1932, after such other pivotal early gangster films as The Public Enemy and Little Caesar. Scarface was the first film in which Hawks worked with screenwriter Ben Hecht, who became a close friend and collaborator for 20 years. After filming was complete on Scarface, Hawks left Hughes to fight the legal battles and returned to First National to fulfill his contract, this time with producer Darryl F. Zanuck. For his next film, Hawks wanted to make a film about his childhood passion: car racing. Hawks developed the script for The Crowd Roars with Seton Miller for their eighth and final collaboration. Hawks used real race car drivers in the film, including the 1930 Indianapolis 500 winner Billy Arnold. The film was released in March and became a hit.
Later in 1932, he directed Tiger Shark, starring Edward G. Robinson as a tuna fisherman. In these early films, Hawks established the prototypical "Hawksian Man", which film critic Andrew Sarris described as "upheld by an instinctive professionalism." Tiger Shark demonstrated Hawks's ability to incorporate touches of humor into dramatic, tense, and even tragic story lines. In 1933, Hawks signed a three-picture deal at Metro-Goldwyn-Mayer Studios, the first of which was Today We Live in 1933. This World War I film was based on a short story by author William Faulkner. Hawks's next two films at MGM were the boxing drama The Prizefighter and the Lady and the bio-pic Viva Villa!. Studio interference on both films led Hawks to walk out on his MGM contract without completing either film himself.

Later sound films (1935–1970)
In 1934, Hawks went to Columbia Pictures to make his first screwball comedy, Twentieth Century, starring John Barrymore and Hawks's distant cousin Carole Lombard. It was based on a stage play by Ben Hecht and Charles MacArthur and, along with Frank Capra's It Happened One Night (released the same year), is considered to be the defining film of the screwball comedy genre. In 1935, Hawks made Barbary Coast with Edward G. Robinson and Miriam Hopkins. Hawks collaborated with Hecht and MacArthur on Barbary Coast and reportedly convinced them to work on the film by promising to teach them a marble game. They would switch off between working on the script and playing with marbles during work days.: 94  In 1936, he made the aviation adventure Ceiling Zero with James Cagney and Pat O'Brien. Also in 1936, Hawks began filming Come and Get It, starring Edward Arnold, Joel McCrea, Frances Farmer, and Walter Brennan. But he was fired by Samuel Goldwyn in the middle of shooting, and the film was completed by William Wyler.In 1938, Hawks made the screwball comedy Bringing Up Baby for RKO Pictures. It starred Cary Grant and Katharine Hepburn and was adapted by Dudley Nichols and Hagar Wilde. It has been called "the screwiest of the screwball comedies" by film critic Andrew Sarris. Grant plays a near-sighted paleontologist who suffers one humiliation after another due to the lovestruck socialite played by Hepburn. Hawks's artistic direction for Bringing Up Baby revolved around the raw natural chemistry between Grant and Hepburn. With Grant portraying the paleontologist and Hepburn as an heiress, the roles only add to the movie's purpose of disintegrating the line between the real and the imaginary. Bringing Up Baby was a box office flop when initially released and, subsequently, RKO fired Hawks due to extreme losses; however, the film has become regarded as one of Hawks's masterpieces. Hawks followed this with 11 consecutive hits up to 1951, starting with the aviation drama Only Angels Have Wings, made in 1939 for Columbia Pictures and starring Cary Grant. It also starred Jean Arthur, Thomas Mitchell, Rita Hayworth, and Richard Barthelmess.
In 1940, Hawks returned to the screwball comedy genre with His Girl Friday, starring Cary Grant and Rosalind Russell. The film was an adaptation of the hit Broadway play The Front Page by Ben Hecht and Charles MacArthur, which had already been made into a film in 1931. Not forgetting the influence Jesse Lasky had on his early career, in 1941, Hawks made Sergeant York, starring Gary Cooper as a pacifist farmer who becomes a decorated World War I soldier. Hawks directed the film and cast Cooper as a specific favor to Lasky. This was the highest-grossing film of 1941 and won two Academy Awards (Best Actor and Best Editing), as well as earning Hawks his only nomination for Best Director. Later that year, Hawks worked with Cooper again for Ball of Fire, which also starred Barbara Stanwyck. The film was written by Billy Wilder and Charles Brackett and is a playful take on Snow White and the Seven Dwarfs. Cooper plays a sheltered, intellectual linguist who is writing an encyclopedia with six other scientists, and hires street-wise Stanwyck to help them with modern slang terms. In 1941, Hawks began work on the Howard Hughes-produced (and later directed) film The Outlaw, based on the life of Billy the Kid and starring Jane Russell. Hawks completed initial shooting of the film in early 1941, but due to perfectionism and battles with the Hollywood Production Code, Hughes continued to re-shoot and re-edit the film until 1943, when it was finally released with Hawks uncredited as director.After making the World War II film Air Force in 1943 starring John Garfield and written by Nichols, Hawks did two films with real-life lovers Humphrey Bogart and Lauren Bacall. To Have and Have Not, made in 1944, stars Bogart, Bacall, and Walter Brennan and is based on a novel by Ernest Hemingway. Hawks was a close friend of Hemingway and made a bet with the author that he could make a good film out of Hemingway's "worst book". Hawks, William Faulkner, and Jules Furthman collaborated on the script about an American fishing boat captain working out of French Martinique in the Caribbean and various situations of espionage after the Fall of France in 1940. Bogart and Bacall fell in love on the set of the film and married soon afterwards. To Have and Have Not has been critiqued as having a "rambling, slapped-together feel" that contribute to an overall clumsy and dull movie. The film, however, has also been enjoyed for its romantic plot and has been compared to Casablanca in its feel. The greatest strength of the movie has been said to come from its atmosphere and use of wit that really plays on the strengths of Bacall and helps the movie solidify the theme of beauty in perpetual opposition. Hawks reteamed with Bogart and Bacall in 1945 and 1946 with The Big Sleep, based on the Philip Marlowe detective novel by Raymond Chandler. An early 1945 version was substantially recut to comprise the final 1946 U.S. release with additional scenes emphasizing the special repartee chemistry between Bogart and Bacall. The screenplay for the film also reteamed Faulkner and Furthman, in addition to Leigh Brackett. Curiously, Raymond Chandler, who had been nominated for an Oscar as co-author of the 1944 Double Indemnity screenplay, was not invited to help adapt his own best selling novel.
In 1948, Hawks made Red River, an epic western reminiscent of Mutiny on the Bounty starring John Wayne and Montgomery Clift in his first film. Later that year, Hawks remade his earlier film Ball of Fire as A Song Is Born, this time starring Danny Kaye and Virginia Mayo. This version follows the same plot but pays more attention to popular jazz music and includes such jazz legends as Tommy Dorsey, Benny Goodman, Louis Armstrong, Lionel Hampton, and Benny Carter playing themselves. In 1949, Hawks reteamed with Cary Grant in the screwball comedy I Was a Male War Bride, also starring Ann Sheridan.
In 1951, Hawks produced, and according to some, directed, a science-fiction film, The Thing from Another World. Director John Carpenter stated: "And let's get the record straight. The movie was directed by Howard Hawks. Verifiably directed by Howard Hawks. He let his editor, Christian Nyby, take credit. But the kind of feeling between the male characters—the camaraderie, the group of men that has to fight off the evil—it's all pure Hawksian." He followed this with the 1952 western film The Big Sky, starring Kirk Douglas. Later in 1952, Hawks worked with Cary Grant for the fifth and final time in the screwball comedy Monkey Business, which also starred Marilyn Monroe and Ginger Rogers. Grant plays a scientist (reminiscent of his character in Bringing up Baby) who creates a formula that increases his vitality. Film critic John Belton called the film Hawks's "most organic comedy". Hawks's third film of 1952 was a contribution to the omnibus film O. Henry's Full House, which includes short stories by the writer O. Henry made by various directors. Hawks's short film The Ransom of Red Chief starred Fred Allen, Oscar Levant, and Jeanne Crain.In 1953, Hawks made Gentlemen Prefer Blondes, which featured Marilyn Monroe famously singing "Diamonds Are a Girl's Best Friend". The film starred Monroe and Jane Russell as two cabaret performing best friends; many critics argue that the film is the only female version of the celebrated "buddy film" genre. Choreographer Jack Cole is generally credited with staging the musical numbers while Hawks is credited with directing the non-musical scenes. In 1955, Hawks shot a film atypical within the context of his other work, Land of the Pharaohs, which is a sword-and-sandal epic about ancient Egypt that stars Jack Hawkins and Joan Collins. The film was Hawks's final collaboration with longtime friend William Faulkner before the author's death. In 1959, Hawks worked with John Wayne in Rio Bravo, also starring Dean Martin, Ricky Nelson, and Walter Brennan as four lawmen "defending the fort" of their local jail in which a local criminal is awaiting a trial while his family attempt to break him out. The screenplay was written by Furthman and Leigh Brackett, who had collaborated with Hawks previously on The Big Sleep. Film critic Robin Wood has said that if he "were asked to choose a film that would justify the existence of Hollywood ... it would be Rio Bravo."
In 1962, Hawks made Hatari!, again with John Wayne, who plays a wild animal catcher in Africa. It was also written by Leigh Brackett. Hawks's knowledge of mechanics allowed him to build the camera-car hybrid that allowed him to film the hunting scenes in the film. In 1964, Hawks made his final comedy, Man's Favorite Sport?, starring Rock Hudson (since Cary Grant felt he was too old for the role) and Paula Prentiss. Hawks then returned to his childhood passion for car races with Red Line 7000 in 1965, featuring a young James Caan in his first leading role. Hawks's final two films were both Western remakes of Rio Bravo starring John Wayne and written by Leigh Brackett. In 1966, Hawks directed El Dorado, starring Wayne, Robert Mitchum, and Caan, which was released the following year. He then made Rio Lobo, with Wayne in 1970. After Rio Lobo, Hawks planned a project relating to Ernest Hemingway and "Now, Mr. Gus", a comedy about two male friends seeking oil and money. He died in December 1977, before these projects were completed.

Final years and death
By the mid 1970s, Hawks's health began to decline, though he remained active. In addition to being in the early stages of Parkinson's disease in the years leading up to his death, an injury suffered on the set of Rio Lobo severely damaged one of his legs.Hawks died on December 26, 1977, at the age of 81, from complications arising from a fall when he tripped over his dog at his home in Palm Springs, California. He had spent two weeks in the hospital recovering from his concussion when he asked to be taken home, dying a few days later. His death was attributed directly to "arteriosclerotic vascular disease with stroke". He was working with his last protégée discovery at the time, Larraine Zax.

Personal life
Howard Hawks was married three times: to actress Athole Shearer, sister of Norma Shearer, from 1928 to 1940; to socialite and fashion icon Slim Keith from 1941 to 1949; and to actress Dee Hartford from 1953 to 1959. Hawks had two children with Shearer, Barbara and David. David Hawks worked as an assistant director for the television series M*A*S*H. His second daughter, Kitty Hawks, was a result of his second marriage to "Slim" Keith. Hawks had one son with his last wife, Dee Hartford, who was named Gregg after cinematographer Gregg Toland.Along with his love of flying machines, Hawks also had a passion for cars and motorcycles. He built the race car that won the 1936 Indianapolis 500, as well as enjoyed riding motorcycles with Barbara Stanwyck and Gary Cooper. Hawks and his son Gregg were members of Checkers Motorcycle Club. Hawks continued riding until the age of 78. His other hobbies included golf, tennis, sailing, horse racing, carpentry, and silversmithing.Hawks was also known for maintaining close friendships with many American writers such as Ben Hecht, Ernest Hemingway, and William Faulkner. Hawks credited himself with the discovery of William Faulkner and introducing the then-unknown writer to the Algonquin Round Table. Hawks and Faulkner had mutual interests in flying and drinking, and Faulkner admired the films of Hawks, asking him to teach him how to write screenplays. Faulkner wrote five screenplays for Hawks, the first of them being Today We Live and the last of them being Land of the Pharaohs. With a mutual interest in fishing and skiing, Hawks was also close with Ernest Hemingway, and was almost made the director of the film adaptation of For Whom the Bell Tolls. Hawks found it difficult to forgive Hemingway for his suicide. After coming to terms with it in the 1970s, he began to plan a film project about Hemingway and his relationship with Robert Capa. He never filmed the project.Hawks supported Thomas Dewey in the 1944 United States presidential election.

Style
Hawks was a versatile director whose career includes comedies, dramas, gangster films, science fiction, film noir, and Westerns. Hawks's own functional definition of what constitutes a "good movie" is characteristic of his no-nonsense style: "Three great scenes, no bad ones." Hawks also defined a good director as "someone who doesn't annoy you". In Hawks's own words, his directing style is based on being enjoyable and straightforward. His style was very actor-focused, and he made it a point to take as few shots as possible, thereby preserving an inherent and natural humor for his comedic pieces.While Hawks was not sympathetic to feminism, he popularized the Hawksian woman archetype, a portrayal of women in stronger, less effeminate roles. Such an emphasis had never been done in the 1920s and therefore was seen to be a rarity and, according to Naomi Wise, has been cited as a prototype of the post-feminist movement. Another notable theme carried throughout his work included the relationship of morality and human interaction. In this sense he tended to portray more dramatic elements of a concept or a plot in a humorous way.Orson Welles in an interview with Peter Bogdanovich said of Howard Hawks, in comparison with John Ford, that "Hawks is great prose; Ford is poetry." Despite Hawks's work in a variety of Hollywood genres, he still retained an independent sensibility. Film critic David Thomson wrote of Hawks: "Far from being the meek purveyor of Hollywood forms, he always chose to turn them upside down. To Have and Have Not and The Big Sleep, ostensibly an adventure and a thriller, are really love stories. Rio Bravo, apparently a Western – everyone wears a cowboy hat – is a comedy conversation piece. The ostensible comedies are shot through with exposed emotions, with the subtlest views of the sex war, and with a wry acknowledgment of the incompatibility of men and women." David Boxwell argues that the filmmaker's body of work "has been accused of a historical and adolescent escapism, but Hawks's fans rejoice in his oeuvre's remarkable avoidance of Hollywood's religiosity, bathos, flag-waving, and sentimentality.

Writing and producing
In addition to his career as a film director, Howard Hawks either wrote or supervised the writing for most of his films. In some cases, he would rewrite parts of the script on set. Due to the Screen Writer's Guild's rule that the director and producer couldn't receive credit for writing, Hawks rarely received credit. Even though Sidney Howard received credit for writing Gone with the Wind (1939), the screenplay was actually written by a myriad of Hollywood screenwriters including, David O. Selznick, Ben Hecht, and Howard Hawks. Hawks was an uncredited contributor to many other screenplays such as Underworld (1927), Morocco (1930), Shanghai Express (1932), and Gunga Din (1939). Hawks also produced many of his own films, preferring not to work under major film studios, because it allowed him creative freedom in his writing, directing, and casting. Hawks would sometimes walk out on films that he wasn't producing himself. Hawks, however, never considered producing to come before his directing. For example, several of the film cards for his films show "Directed and produced by Howard Hawks" with "produced" underneath "directed" in much smaller font. Sometimes his films wouldn't credit any producer. Hawks discovered many well known film stars such as Paul Muni, George Raft, Ann Dvorak, Carole Lombard, Frances Farmer, Jane Russell, Montgomery Clift, Joanne Dru, Angie Dickinson, James Caan, and most famously, Lauren Bacall.

Filmography
Awards and recognition
In 1974, he was awarded an Honorary Academy Award as "a giant of the American cinema whose pictures, taken as a whole, represent one of the most consistent, vivid, and varied bodies of work in world cinema." Peter Bogdanovich suggested to the Museum of Modern Art to do a retrospective on Howard Hawks, who was in the process of releasing Hatari! For marketing purposes, Paramount paid for part of the exhibition, which was held in 1962. The exhibition traveled to Paris and London. For the event, Bogdanovich prepared a monograph. As a result of the retrospective, a special edition of Cahiers du Cinéma was published, and Hawks was featured on his own issue of Movie magazine.In 1996, Howard Hawks was voted No. 4 on Entertainment Weekly's list of 50 greatest directors. In 2007, Total Film magazine ranked Hawks as No. 4 in its "100 Greatest Film Directors Ever" list. Bringing Up Baby (1938) was listed number 97 on the American Film Institute's AFI's 100 Years...100 Movies. On the AFI's AFI's 100 Years...100 Laughs Bringing Up Baby was listed number 14, His Girl Friday (1940) was listed number 19 and Ball of Fire (1941) was listed number 92. In the 2012 Sight & Sound polls of the greatest films ever made, six films directed by Hawks were in the critics' top 250 films: Rio Bravo (number 63), Bringing Up Baby (number 110), Only Angels Have Wings (number 154), His Girl Friday (number 171), The Big Sleep (number 202), and Red River (number 235). Six of his films currently hold a 100% rating on Rotten Tomatoes. His films Ball of Fire, The Big Sleep, Bringing Up Baby, His Girl Friday, Only Angels Have Wings, Red River, Rio Bravo, Scarface, Sergeant York, The Thing from Another World, and Twentieth Century were deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and inducted into the National Film Registry. With eleven films, he ties with John Ford for directing the most films that are in the registry.
From the film industry, he received three nominations for Outstanding Directorial Achievement in Motion Pictures from the Directors Guild of America for Red River in 1949, The Big Sky in 1953, and Rio Bravo in 1960. He was inducted into the Online Film and Television Association's Hall of Fame for his directing in 2005. For his contribution to the motion picture industry, Howard Hawks has a star on the Hollywood Walk of Fame at 1708 Vine Street. He was nominated for Academy Award for Best Director in 1942 for Sergeant York, but he received his only Oscar in 1974 as an Honorary Award from the Academy. He was cited as "a master filmmaker whose creative efforts hold a distinguished place in world cinema."

Influence and legacy
In the 1950s, Eugene Archer, a film fan, was planning on writing a book on important American film directors such as John Ford. However, after reading Cahiers du Cinéma, Archer learned that the French film scene was more interested in Alfred Hitchcock and Howard Hawks. Books were not written on Hawks until the 1960s, and a full biography on Hawks wasn't published until 1997, twenty years after his death. Film critic Andrew Sarris cited Howard Hawks as "the least known and least appreciated Hollywood director of any stature". According to professor of film studies Ian Brookes, Hawks is not as well known as other directors, because of his lack of association with a particular genre such as Ford with Western and Hitchcock with thriller. Hawks worked across many genres including gangster, film noir, musical comedy, romantic comedy, screwball comedy, Western, aviation, and combat. Moreover, Hawks preferred not to associate with major studios during his film production. He worked for all major studios at least once on short term contract, but many of his films were produced under his own name. The simplicity of his narratives and stories may also have contributed to his under-recognition. Commercially, his films were successful, but he received little critical acclaim except for one Academy Award nomination for Best Director for Sergeant York (he lost to John Ford for How Green Was My Valley) and an Honorary Academy Award presented to him two years before his death.Some critics limit Hawks by his action films, describing Hawks as a director who produced films with a "masculine bias", however action scenes in Hawks's films were often left to second-unit directors, and Hawks actually preferred to work indoors. Howard Hawks's style is difficult to interpret because there is no recognizable relationship between his visual and narrative style as in the films of his contemporary directors. Because his camera style was derived more from his working method rather than anecdotal or visual realization, his camera work is unobtrusive, making his films appear to have little to no cinematographic style. Hawks's style can, rather, be characterized as improvisational and collaborative. Hawks's directorial style and the use of natural, conversational dialogue in his films are cited as major influences on many noted filmmakers, including Robert Altman John Carpenter, and Quentin Tarantino. His work is also admired by Peter Bogdanovich, Martin Scorsese, François Truffaut, Michael Mann, and Jacques Rivette. Andrew Sarris in his influential book of film criticism The American Cinema: Directors and Directions 1929–1968 included Hawks in the "pantheon" of the 14 greatest film directors who had worked in the United States. Brian De Palma dedicated his version of Scarface to Hawks and Ben Hecht. Altman was influenced by the fast-paced dialogue of His Girl Friday in MASH and subsequent productions. Hawks was nicknamed "The Gray Fox" by members of the Hollywood community, thanks to his prematurely gray hair.Hawks has been considered by some film critics to be an auteur both because of his recognizable style and frequent use of specific thematic elements, and because of his attention to all aspects of his films, not merely directing. Hawks was venerated by French critics associated with Cahiers du cinéma, who intellectualized his work in a way that Hawks himself found moderately amusing (his work was promoted in France by The Studio des Ursulines cinema). Although he was not at first taken seriously by British critics of the Sight & Sound circle, other independent British writers, such as Robin Wood, admired his films. Wood named Hawks's Rio Bravo as his top film of all time.His work has influenced various popular and respected directors such as Martin Scorsese, Robert Altman, John Carpenter, Rainer Werner Fassbinder, Quentin Tarantino, and Michael Mann. Entertainment Weekly placed Hawks fourth on their list of greatest directors, writing: "His hallmarks are more thematic than visual: men who adhere to an understated code of manliness; women who like to yank the rug out from under those men's feet; a mistrust of pomposity; a love of sly, leg-pulling wit. Yet there's the ease of the complete filmmaker in his Westerns, dramas, musicals, detective films, and supremely confident comedies. No wonder the French adored the guy: His casual profundity was the studio's best advertisement for itself." Jean-Luc Godard called him "the greatest of all American artists".

Citations
General and cited references
Further reading
External links

Howard Hawks at IMDb
Howard Hawks at the TCM Movie Database
Bibliography of books and articles about Hawks via UC Berkeley Media Resources Center
Profile at Senses of Cinema
BBC interview
Material relating to Howard Hawks in the L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University
Passage 6:
Stanley Wilson (athlete)
Stanley J Wilson was a male athlete who competed for England.

Athletics career
He competed for England in the javelin at the 1934 British Empire Games in London.Wilson was an early pioneer of the javelin in Britain, represented Birchfield Harriers  and was the 1937 AAA champion.

Personal life
He was a student and then a lecturer at Carnegie College of Physical Education, in Leeds and became a notable coach.
Passage 7:
Joseph Heath (athlete)
Joseph C V Heath was a male athlete who competed for England.

Athletics career
He competed for England in the javelin at the 1934 British Empire Games in London.Heath represented Birchfield Harriers  and was the 1932 AAA champion.
Passage 8:
I Was a Male War Bride
I Was a Male War Bride is a 1949 screwball comedy film directed by Howard Hawks and starring Cary Grant and Ann Sheridan.
The film was based on "Male War Bride Trial to Army", a biography of Henri Rochard (pen name of Roger Charlier), a Belgian who married an American nurse.The film is about French Army officer Henri Rochard (Grant) who must pass as a war bride in order to go back to the United States with Women's Army Corps officer Catherine Gates (Sheridan).

Plot
In Heidelberg in post-World War II Allied-occupied Germany, French Army Captain Henri Rochard is given the task of recruiting a highly skilled lens maker named Schindler. He is assigned American Lieutenant Catherine Gates as his driver, much to their mutual discomfort (arising from several prior clashes). The only available transportation is a motorcycle which, due to Army regulations, only Catherine is allowed to drive; Henri has to ride in the sidecar. After several mishaps, the constantly quarreling couple arrive at their destination, Bad Nauheim.
At the hotel, bothered by back pain, Catherine warily accepts Henri's offer of a back rub. When she falls asleep, he tries to leave her room, but the exterior door handle falls off, trapping him inside. He spends an uncomfortable night in a chair. In the morning, she refuses to believe his story. Unknown to him, the innkeeper's wife has replaced the exterior knob, so when he tells Catherine to see for herself how the door will not open, it does. Eventually, the innkeeper's wife comes to the room, forcing Henri to hide on the ledge outside the window. The innkeeper's wife explains everything to Catherine, but not before Henri falls off the ledge.
Later, Henri goes undercover to search for Schindler, now working in the black market. He refuses to let Catherine help him and tells her that if she sees him to pretend she does not know him. The black market is raided by the authorities, and he is rounded up with everyone else. When he asks her to vouch for his identity, she obeys his earlier order not to reveal that she knows him. While he is in jail, she finds Schindler, who is happy to leave Germany and ply his trade in France. Later, she apologizes to a furious Henri, and by the time they return to Heidelberg, they have fallen in love.
Red tape forces Henri and Catherine to be married first in a civil ceremony before they can each have their choice of ceremony: Army chaplain (Catherine) and church (Henri). Before they can consummate their marriage, she is ordered to report immediately to headquarters in the morning; her unit has been alerted they are about to be shipped back to the United States. They subsequently learn that the only way Henri can get a visa is under the War Brides Act as the spouse of an American soldier. After many misunderstandings, he is given permission to accompany her, but circumstances and Army regulations conspire to keep them from spending the night together.
When they try to board the transport ship, Navy sailors do not believe that Henri is a war "bride". He is forced to dress as a female Army nurse to get aboard. The deception works, but once underway, his disguise is discovered and he is arrested. Catherine manages to straighten out the situation, and they finally have some privacy - in the ship's brig.

Cast
Eleanor Audley as Assignment Officer (uncredited)

Production
Filming began on September 28, 1948 and lasted more than eight months due to a variety of illnesses contracted by cast members and crew. Sheridan contracted pleurisy that developed into pneumonia, suspending shooting for two weeks. Hawks broke out in unexplained hives all over his body. Grant came down with hepatitis complicated by jaundice, and production was shut down for three months, until Grant recovered and regained around 30 pounds. When screenwriter Charles Lederer was ill, his friend Orson Welles wrote part of a short chase scene as a favor to him.: 404  The delay in production pushed the budget over $2 million.
Filming took place primarily in Heidelberg, Germany, London at Shepperton Studios, and Los Angeles at the 20th Century Fox studios. King Donovan, Charles B. Fitzsimons, Robert Stevenson, and Otto Waldis all shot scenes for this film, but all of them were ultimately deleted.

Reception
The film played Grauman's Chinese Theatre for two weeks starting August 19, 1949. Its New York premiere was on August 26, 1949, at the Roxy Theatre. The opening was originally scheduled for Radio City Music Hall, but filming delays placed the opening in conflict with the Music Hall's schedule.
Bosley Crowther of The New York Times wrote a generally positive review, finding that a "tediously long time" was spent setting up the plot but that the film's best scenes were "convulsingly zany stuff". Variety was also mostly positive, calling the film "a smash combo of saucy humor and slapstick", though it thought that the story had "trouble finding a point at which to end." Harrison's Reports called it "An hilariously funny sophisticated comedy ... The direction is bright and snappy, and both Grant and Sheridan do very good work, romping through the farcical situations in a highly amusing way." Richard L. Coe of The Washington Post wrote that there were "a good many laughs" in the film, though he found too many of the comedic situations to consist of "the obvious worked to death". Philip Hamburger of The New Yorker was negative, writing, "One cannot blame Miss Sheridan for the accumulated inanities to which she is subjected (the antics in this film are too childish to bear enumeration), but she does as little with them as humanly possible."The film holds a score of 79% on review aggregation website Rotten Tomatoes based on 11 out of 14 surveyed critics giving it a positive review.The film grossed over $4.5 million, making it 20th's biggest earner of 1949. It was also Howard Hawks' 3rd highest grosser to that time, behind only Sergeant York (1941) and Red River (1948).
Passage 9:
Charles Bowen (athlete)
Charles G Bowen was a male athlete who competed for England.

Athletics career
He competed for England in the javelin at the 1934 British Empire Games in London and won the 1934 AAA Championships.

Personal life
He served as a lieutenant with the Lancashire Fusiliers.
Passage 10:
Hagar Wilde
Hagar Wilde (July 7, 1905 – September 25, 1971) was an American novelist, short story writer, playwright, and screenwriter from the 1930s through the 1950s. She is perhaps best known for the screenplays for Bringing Up Baby (1938) and I Was a Male War Bride (1949), two Howard Hawks films, both starring Cary Grant.

Early life
Hagar Wilde was born Beverly Violet Bidwell in Toledo, Ohio.

Career
Wilde was a prolific young short story writer and debut novelist when she was hired by billionaire Howard Hughes in 1931, to write dialogue for The Age for Love, starring Billie Dove. Her association with director Howard Hawks included co-writing (with Dudley Nichols) the screenplay for Bringing Up Baby (for which she had also written the original story, published in the magazine Collier's Weekly), and the screenplay for I Was a Male War Bride (1949). She also co-wrote the screenplay for The Unseen (1945), with Raymond Chandler, based on the novel Midnight House by Ethel Lina White.Wilde wrote two shows produced on Broadway. Her first stage success was a "taut little horror drama" titled Guest in the House (1942); she co-wrote the play with Dale Eunson, and it was adapted into a film in 1944. She also wrote Made in Heaven (1946–1947). In the 1950s she worked extensively in adapting scripts for television.

Personal life
Wilde was married at least four times. Her first husband was Harold Chandler Murner; they were married from 1923 to 1928. Her second husband was Ernest Victor Heyn. She divorced Heyn and married her third husband, actor  Stephen Bekassy, in 1941. She had a daughter, Stephanie, with Bekassy, before they divorced in 1953. Her fourth husband was an Englishman; that marriage also ended. She died in 1971 at the Motion Picture Country Home in California, aged 66 years.

Selected filmography
The Age for Love (1931)
Bringing Up Baby (1938)
Carefree (1938)
Fired Wife (1943)
Guest in the House (1944)
The Unseen (1945)
I Was a Male War Bride (1949)
Red, Hot and Blue (1949)
Shadow of the Eagle (1950)
The Rival of the Empress (1951)
This is My Love (1954)