Clark Gable in the context of "First Motion Picture Unit"

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๐Ÿ‘‰ Clark Gable in the context of First Motion Picture Unit

The 18th AAF Base Unit (Motion Picture Unit), originally known as the First Motion Picture Unit, Army Air Forces, was the primary film production unit of the U.S. Army Air Forces (AAF) during World War II, and was the first military unit made up entirely of professionals from the film industry. It produced more than 400 propaganda and training films, which were notable for being informative as well as entertaining. Films for which the unit is known include Resisting Enemy Interrogation, Memphis Belle: A Story of a Flying Fortress and The Last Bombโ€”all of which were released in theatres. Veteran actors such as Clark Gable, William Holden, Clayton Moore, Ronald Reagan, Craig Stevens and DeForest Kelley, and directors such as John Sturges served with the 18th AAF Base Unit. The unit also produced training films and trained combat cameramen.

First Motion Picture Unit is also the eponymous title of a 1943 self-produced documentary about the unit narrated by radio and television announcer Ken Carpenter.

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Clark Gable in the context of John Lee Mahin

John Lee Mahin (August 23, 1902, Evanston, Illinois โ€“ April 18, 1984, Los Angeles) was an American screenwriter and producer of films who was active in Hollywood from the 1930s to the 1960s. He was known as the favorite writer of Clark Gable and Victor Fleming. In the words of one profile, he had "a flair for rousing adventure material, and at the same time he wrote some of the raciest and most sophisticated sexual comedies of that period."

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Clark Gable in the context of Leading man

A leading actor, leading actress, or leading man or lady or simply lead (/หˆliหd/), plays a main role in a film, television show or play. The word lead may also refer to the largest role in the piece, and leading actor may refer to a person who typically plays such parts or an actor with a respected body of work. Some actors are typecast as leads, but most play the lead in some performances and supporting or character roles in others.

Sometimes there is more than one significant leading role in a dramatic piece, and the actors are said to play co-leads; a large supporting role may be considered a secondary lead. Award nominations for acting often reflect such ambiguities. Therefore, sometimes two actors in the same performance piece are nominated Oscars for Best Actor or Best Actressโ€”categories traditionally reserved for leads. For example, in 1935 Clark Gable, Charles Laughton and Franchot Tone were each nominated for the Best Actor Academy Award for Mutiny on the Bounty. There can even be controversy over whether a particular performance should be nominated in the Best Actor/Actress or Best Supporting Actor/Best Supporting Actress category; for instance, The Godfather's Al Pacino boycotted the 45th Academy Awards ceremony since he was insulted at being nominated for the Academy Award for Best Supporting Actor award; he noted that he had more screen time than his co-star and Best Actor winner Marlon Brando and so he should have received an Academy Award nomination for Best Actor.

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Clark Gable in the context of Mogambo

Mogambo is a 1953 Technicolor adventure/romantic drama film directed by John Ford and starring Clark Gable, Ava Gardner, and Grace Kelly, and featuring Donald Sinden.

It was shot on location in colonial British East Africa, Tanganyika, Uganda Protectorate, and French Congo, with a musical soundtrack consisting almost entirely of traditional music recorded in Congo.

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Clark Gable in the context of Classical Hollywood cinema

In film criticism, classical Hollywood cinema is both a narrative and visual style of filmmaking that first developed in the 1910s to 1920s during the later years of the silent film era. It then became characteristic of United States cinema during the Golden Age of Hollywood from about 1927, with the advent of sound film, until about 1967 and the arrival of New Hollywood productions such as Bonnie and Clyde and The Graduate. During the intervening forty years, it was the most powerful and pervasive style of filmmaking worldwide.

Similar or associated terms include classical Hollywood narrative, the Golden Age of Hollywood, Old Hollywood, and classical continuity. The period is also referred to as the studio era, which may also include films of the late silent era.

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Clark Gable in the context of Pre-Code Hollywood

Pre-Code Hollywood was an era in the American film industry that occurred between the widespread adoption of sound in film in the late 1920s and the enforcement of the Motion Picture Production Code censorship guidelines (popularly known as the Hays Code) in 1934. Although the Hays Code was adopted in 1930, oversight was poor, and it did not become rigorously enforced until July 1, 1934, with the establishment of the Production Code Administration. Before that date, film content was restricted more by local laws, negotiations between the Studio Relations Committee (SRC) and the major studios, and popular opinion than by strict adherence to the Hays Code, which was often ignored by Hollywood filmmakers.

As a result, some films in the late 1920s and early 1930s depicted or implied sexual innuendo, romantic and sexual relationships between white and black people, mild profanity, illegal drug use, promiscuity, prostitution, infidelity, abortion, intense violence, and homosexuality. Nefarious characters were seen to profit from their deeds, in some cases without significant repercussions. For example, gangsters in films such as The Public Enemy, Little Caesar, and Scarface were seen by many as heroic rather than evil. Strong female characters were ubiquitous in such pre-Code films as Female, Baby Face and Red-Headed Woman, among many others, which featured independent, sexually liberated women. Many of Hollywood's biggest stars, such as Clark Gable, Bette Davis, James Cagney, Barbara Stanwyck, Joan Blondell, and Edward G. Robinson, got their start in the era. Other stars who excelled during this period, however, like Ruth Chatterton and Warren William (sometimes referred to as the "King of Pre-Code", who died in 1948), would be largely forgotten by the general public within a generation.

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Clark Gable in the context of The Misfits (1961 film)

The Misfits is a 1961 American contemporary Western film directed by John Huston and written by Arthur Miller, who adapted his own 1957 short story. It stars Clark Gable, Marilyn Monroe, and Montgomery Clift, alongside Thelma Ritter and Eli Wallach. The plot centers on a newly divorced woman (Monroe), and her relationships with a friendly landlady (Ritter), an old-school cowboy (Gable), his tow-truck driving and plane-flying best friend (Wallach), and their rodeo-riding, bronco-busting friend (Clift). The Misfits was the last completed film for both Gable (who died three months before the premiere) and Monroe (who died a year after its release).

The Misfits was released by United Artists on February 1, 1961. It was a commercial failure, but received critical acclaim for its script and performances. Its reputation has enhanced over the years, and many critics now consider it to be a masterpiece and one of the best films of the 1960s.

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Clark Gable in the context of Gone with the Wind (film)

Gone with the Wind is a 1939 American epic historical romance film adapted from the 1936 novel by Margaret Mitchell. The film was produced by David O. Selznick of Selznick International Pictures and directed by Victor Fleming. Set in the American South against the backdrop of the American Civil War and the Reconstruction era, the film tells the story of Scarlett O'Hara (Vivien Leigh), the strong-willed daughter of a Georgia plantation owner, following her romantic pursuit of Ashley Wilkes (Leslie Howard), who is married to his cousin, Melanie Hamilton (Olivia de Havilland), and her subsequent marriage to Rhett Butler (Clark Gable).

The film had a troubled production. The start of filming was delayed for two years until January 1939 because Selznick was determined to secure Gable for the role of Rhett, and filming concluded in July. The role of Scarlett was challenging to cast, and 1,400 unknown women were interviewed for the part. Sidney Howard's original screenplay underwent many revisions by several writers to reduce it to a suitable length. The original director, George Cukor, was fired shortly after filming began and was replaced by Fleming, who in turn was briefly replaced by Sam Wood while taking some time off due to exhaustion. Post-production concluded in November 1939, just a month before its premiere.

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