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Ryan Bell
Ryan Bell

Lover Come Back (1961)



Slightly in advance of the film's release, as was the custom of the era, a paperback novelization of the screenplay was published by Gold Medal Books. The author was renowned crime and western novelist Marvin H. Albert, who also made something of a cottage industry out of movie tie-ins. He seems to have been the most prolific screenplay novelizer of the late '50s through mid '60s, and, during that time, the preeminent specialist at light comedy.




Lover Come Back (1961)


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Original Universal Pictures Twenty Four Sheet Poster (9ftx20ft) for the Delbert Mann romantic comedy, LOVER COME BACK (1961) starring Rock Hudson, Doris Day, Tony Randall, and Edie Adams. Jerry (Hudson) and Carol (Day) are both advertising executives for different agencies, but playboy Jerry steals every account from Carol's reach. One of Jerry's scams is the invention of a non-existent product called VIP, which he markets so successfully that it becomes an overnight sensation. This sets up a hilarious meeting between the two that includes a case of mistaken identity, a nutty professor, and a bungled seduction. The comic chemistry between Hudson and Day is unique and used quite skillfully by the clever and funny screenplay by Stanley Shapiro and Paul Henning who received Academy Award nominations for Best Screenplay. This original twenty four sheet poster is in very fine condition. A word of explanation: this is a very large poster, printed on 16 different panels. This type of poster was used chiefly as an exterior billboard. 24-sheets are unusually scarce because most of them were either used (and therefore papered over) or discarded after first-run exhibition. MovieArt Austin guarantees this poster to be the authentic 24-sheet poster for this film. MovieArt Austin will sell NO reproductions.Doris Day - ActorRock Hudson - ActorDELBERT MANN - DirectorTony Randall - ActorEdie Adams - ActorJack Oakie - ActorJack Kruschen - Actor


How important can a single episode of a major television drama series be to American history? If the year is 1961, and the subject is jazz, then one episode, featuring black characters and black music, can signal a surprising, if still complicated, shift in popular consciousness. "Good Night, Sweet Blues"1 was a jazz-and-blues-themed episode, aired on October 6, 1961, in the CBS television drama series Route 66 (1960-64). The episode appeared just after Ida Cox had released her comeback album, Blues for Rampart Street (recorded and reported on in the New Yorker in April 1961 and released in late summer), which featured the Coleman Hawkins Quintet. In the television show, the quintet backs the character of Jennie Henderson, played by the singer Ethel Waters. However, instead of replicating the true story of how the album Blues for Rampart Street was produced, the episode inverts the story, suggesting the contortion that black history often undergoes as it makes its way into the mainstream. "Good Night, Sweet Blues" is thus simultaneously progressive and retrograde: granting agency to an African American woman while softening her music and her story. The real singer--Ida Cox-debuted "Wild Women Don't Have the Blues" (1924), for example, as a salvo against respectability politics and as something of a manifesto for women's agency and the exercise of domestic power. But what happens when black history enters television? This reading examines these complications by looking at how the episode, for which Waters was nominated for an Emmy, both reveals and obscures a difficult and tragic history when its story is considered alongside the album. 041b061a72


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