(Three soliders meet three girls at the famous canteen bef...)
Three soliders meet three girls at the famous canteen before going overseas in this star-studded film. Featuring apperances by Katharine Hepburn, Helen Hayes, Edgar Bergen, & Harpo Marx. Also featuring the bands of Count Basie, Benny Goodman, Guy Lombardo, and Freddy Martin.
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**Now includes previously unreleased short story**
Kim...)
**Now includes previously unreleased short story**
Kimber Cassidy is a beautiful, brilliant and sexy plus-size young woman, who's determined to follow in her late father's footsteps, a police detective in the midwestern town of East Alton.
While she mourns the tenth anniversary of her father's death in a nearby bar, a chance encounter embroils her in a murder investigation of Calvin Dunbar. Soon, it becomes obvious that things are not a clean cut as they appear. Was Calvin murdered, or did he commit suicide? Why was there a falling out with a close friend? And what was the mysterious research that Calvin was doing?
When another dead body is discovered and she finds herself coming under increasing suspicion of police detective, Lou Matthews, Kimber races against time to clear her name and figure out who's a cold-blooded killer!
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The Borrowers.
Based on the beloved novel by Mary Nor...)
The Borrowers.
Based on the beloved novel by Mary Norton, The Borrowers follows the fortunes of a family of tiny humans who live beneath the floorboards in mansion of a Victorian matron (Dame Judith Evans). They live on the scraps left by Big People and live a relatively idyllic existence until they are discovered by the matron s eight-year-old nephew. Now they must frantically avoid being captured and exhibited as scientific curiosities.
The New Adventures of Heidi.
Katy Kurtzman (Dynasty) stars as a very animated Heidi who is unfairly separated from her loving grandfather (Burl Ives), and forced to live with a gaggle of despicable relatives in the Big Apple. Goodness prevails, but not before Heidi and her co-stars sing their way though ten delightful original songs.
Dame Judith Anderson was an Australian-born British actress who had a successful career in stage, film and television.
Background
Judith Anderson was born Frances Margaret Anderson in Adelaide, Australia, on February 10, 1898, to an English mother and Irish father. The latter had made (then quickly lost) his fortune in silver mines while his four children were still young. She was the youngest of four children born to Jessie Margaret (née Saltmarsh; 19 October 1862 – 24 November 1950), a former nurse, and Scottish-born James Anderson Anderson, a sharebroker and pioneering prospector.
Education
She attended a private school, Norwood, where her education ended before graduation. At an early age Judith was given lessons in singing and piano, but displayed a talent for elocution.
Career
After winning top honors in an elocution contest for recitation, she signed on as an actress with a touring Australian stock theater company, making her professional debut in 1915 in Sydney in A Royal Divorce at the age of 17. Three years later she and her mother traveled to America to explore the possibilities of success in the fledgling American film industry.
But a letter of introduction from her Australian theatrical managers to movie director Cecil B. DeMille did little to impress. Anderson's features (not "cute" or "beautiful" by Hollywood standards) and her diminutive size (5 feet 4 inches) made her a liability, rather than an asset, to film acting at that time.
The mother and daughter pair then made their way across country to New York City to attempt to break into the legitimate theater. Judith would travel from one producer's office to the next looking for work, while her mother eked out a living for them as a seamstress in their one-room apartment.
As luck would have it, Anderson was "discovered" by the director of the Emma Bunting Stock Company when, tired and ill from the flu, she collapsed in a producer's waiting room. Passing by, he offered her a place in the acting company at $40 a week (although she had to supply her own costume). Within a year's time she was making $50 a week and playing leading roles.
In 1920 she performed in a tour of the play Dear Brutus with one of the major stars of the day, William Gillette. Anderson had her first success on Broadway as Elsie Van Zile in a melodrama called Cobra (1924).
In the late 1920s and early 1930s she established herself as an actress of great emotional depth in serious dramas such as Eugene O'Neill's Strange Interlude and Mourning Becomes Electra, Luigi Pirandello's As You Desire Me, and Zoë Adkin's The Old Maid.
Perhaps Anderson's greatest stage triumph was the mythic, evil seductress Medea, which she first performed in 1947 in an adaptation especially written for her by her lifelong friend poet Robinson Jeffers (and for which she won a Tony award in 1948).
Anderson's film career initially began in 1933, when she played a gangster's moll in Blood Money. She did not adjust well at first to the demands of film acting, but received an Oscar nomination in 1940 for her portrayal of the menacing housekeeper Mrs. Danvers in Alfred Hitchcock's mystery Rebecca. Her major films include Kings Row (1942), Stage Door Canteen (1943), Laura (1944), And Then There Were None (1945), The Furies (1950), Salome (1953), The Ten Commandments (1956), and Cat on a Hot Tin Roof (1958).
Her favorite actress was Sarah Bernhardt, who, like Anderson, excelled in dramatic roles and continued to act well into her seventies.
In 1970 Anderson toured in a production of Shakespeare's Hamlet, playing the title role of the young, brooding prince at the age of 72. She was much maligned by critics in this endeavor, who, in this day and age of realism, could not overcome the anachronism of having someone of Anderson's age and gender play the role.
She died of pneumonia at her beloved California home on January 3, 1992 at the age of 94.
Quotations:
Responding to questions about accepting roles in soap operas and popular films, she noted in an interview that "Bernhardt . .. would have accepted a daytime drama if they offered her one. "
Personality
Quotes from others about the person
One critic called her Medea "pure evil, dark, dangerous, cruel, raging, ruthless. From beginning to end she maintains an almost incredible intensity . .. she moves with such skill through explored regions of pain and despair that she can hold her audience in suspense throughout the evening. "