You are welcome.
You are welcome.
It would have taken a really bad lawyer to lose the case. RKO was on record of making the claim. On page six of the pressbook sent to the theatre exhibitors, there was a long publicity story , for use in local newspapers when the film was showing in their towns. It told of the many stunt men who were involved (in actual roles and stunts) on "I'm Still Alive." Mentioned were Allen Pomeroy. George Magrill, Cliff Bergere, Art Dupuis, Cy Slocom and several others. And, about half-way through the long ready-to-be printed (and it was) story was this paragraph from RKO's publicity department: "Strangely enough, every one of them is married, and most of them own their own homes. It is a fetish with these men who lead such hazardous lives to run no bills, to pay cash for everything they buy. They had fun on the picture which, they say, is based on a true story of one of their number, the romance a few years ago between the former star, Helen Twelvetrees, and stuntman Jack Woody."
She might have overlooked it. if they hadn't called her a former star.
It was not a let's-make-a-salute short to Will Rogers per se (albeit archive footage of Wil Rogers was used in every one of these)...it was a funds appeal to support the hospital.
The studio that produced it would primarily use performers under contract to that studio, but the film itself was distributed through the hundreds of film exchanges throughout America of all of the major studios(and not just that year's producing studio), plus it was distributed via National Screen Service.
THe suggestion here is before so-called "reviewers" start their "expert" critiques of the Will Rogers Memorial Funds annual shorts, they should at least have a bit of film knowledge in their Critics Kit and know exactly why the short was made.
The reviewer who included the clap-trap misinformation in his review has been contacted by private message(s), over the past couple of years, regarding his error-statements,(on six of the ten reviews this contributor has read by this reviewing assumer) in which it was suggested that he might care to edit his review(s) and delete the highly-fabricated statements he made, but he seems to resent, rather than appreciate someone trying to help him not look foolish. Other than his opinion of the film(s) he writes about, his knowledge of vintage films seems to be somewhat, at best, lacking.
Featured in the gay story of a young burlesque queen who goes operatic, are Susanna Foster, who plays the title role, and Allan Jones, Margaret Lindsay, Lynne Overman and Grace Bradley. Cast in prominent roles, brilliant Metropolitan Opera stars Richard Bonelli, Irra Petine and Tandy MacKenzie make their screen debuts in the picture. In addition to these musical luminaries, five of the most noted teen age youngsters in the world of music display their extraordinary talents which have brought them the plaudits of music-lovers throughout the country.
The five youngsters are Haimo Haitto, sixteen-year-old Finnish violinist; Patricia Travers, thirteen, considered by music authorities one of the finest young violinists in this country; Dolly Loehr, fourteen, a pianist frequently acclaimed in the concert halls, Kaye Connor, fifteen, well-known young violinist and singer, and William Chapman, a baritone of exceptional attainments.
The story is told against the background of Interlochen, the world-famous music camp in Michigan. There, it is not unusual for the dance-stirring notes of a swing version of "The Beer-Barrel Polka" to mingle with the sedate strains of music by Bach and Beethoven" End of review intended for newspaper use in towns where "The Hard-Boiled Canary" was playing in 1941. The Ames Daily Tribune used it on Saturday, March 22, 1941 where "The Hard-Boiled Canary" was booked to open on Sunday at the New Ames Theatre.
Through special arrangement with Brigham Young University, Paramount Pictures, and Swank Films it was first shown at SerialFest in Newtown, PA, in the Spring of 2008. This past October it was run a second time at the Lone Pine Film Festival in Lone Pine, CA.
Now this exciting serial is coming to America's heartland for the first time. It can be seen at the Memphis Film Festival in Olive Branch, Mississippi June 3-5 of 2010. It will be personally projected by BYU archivist James D'Arc.
So, why doesn't BYU make it available on a DVD for all serial fans to enjoy?
Edit: Question answered by Boyd Magers of "Western Clippings." BYU has the print donated to them by the late Jack (Valley of the Cliffhangers) Mathis. Paramount has the rights to the film, and they have deemed the negative flawed and unacceptable and, as such, unmarkable.