Allen Jenkins
1900 - 1974Allen Jenkins (April 9, 1900 – July 20, 1974) was an American character actor on stage, screen and television. He was born Alfred McGonegal on Staten Island, New York.
He studied at the American Academy of Dramatic Arts. In his first stage appearance, he danced next to James Cagney in a chorus line for an off-Broadway musical called Pitter-Patter. He made five dollars a week. He also appeared one thousand times in Broadway plays between 1924 and 1962, including The Front Page with Lee Tracy (1928). His big break came when he replaced Spencer Tracy for three weeks in the Broadway play The Last Mile.
He was called to Hollywood by Darryl F. Zanuck and signed first to Paramount Pictures and shortly afterwards to Warner Bros. He originated the character of Frankie Wells in the Broadway production of Blessed Event and reprised the role in the film adaptation, both in 1932. With the advent of talking pictures, he made a career out of playing comic henchmen, stooges, policemen and other "tough guys" in numerous films of the 1930s and 1940s, especially for Warner Bros. He was labeled the "greatest scene-stealer of the 1930s" by the New York Times. He voiced the character of "Officer Dibble" on the Hanna-Barbera television cartoon Top Cat and was a regular on the 1956-1957 television situation comedy Hey, Jeannie! (1956), starring Jeannie Carson. He was also a guest star on The Red Skelton Show, I Love Lucy, Playhouse 90, The Ernie Kovacs Show, Zane Grey Theater, and The Sid Caesar Show. Eleven days before his death he made his final appearance, at the end of Billy Wilder's 1974 film adaptation of The Front Page.
He went public with his alcoholism and was the first actor to speak in the U.S. House of Representatives and the Senate about it. He helped start the first Alcoholics Anonymous programs in California prisons for women.
Jenkins, James Cagney, Pat O'Brien and Frank McHugh were the original members of the so-called "Irish Mafia". He was the seventh member of the Screen Actors Guild.
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I Am a Fugitive from a Chain Gang
Mervyn LeRoy
Paul Muni, Glenda Farrell
A World War I veteran’s dreams of becoming a master architect evaporate in the cold light of economic realities. Things get even worse when he’s falsely convicted of a crime and sent to work on a chain gang.
I Am a Fugitive from a Chain Gang
King Kong
Merian C. Cooper, Ernest B. Schoedsack
Robert Armstrong, Fay Wray
Adventurous filmmaker, Carl Denham, sets out to produce a motion picture unlike anything the world has seen before. Alongside his leading lady Ann Darrow and his first mate Jack Driscoll, they arrive on an island and discover a legendary creature said to be neither beast nor man. Denham captures the monster to displayed on Broadway as Kong, the eighth wonder of the world.
King Kong
Hollywood Out-takes and Rare Footage
Stanley Sheff, Bruce Goldstein
Gig Young, Bud Abbott
Out-takes (mostly from Warner Bros.), promotional shorts, movie premieres, public service pleas, wardrobe tests, documentary material, and archival footage make up this star-studded voyeuristic look at the Golden age of Hollywood during the 30s, 40, and 50.
Hollywood Out-takes and Rare Footage
Ball of Fire
Howard Hawks
Gary Cooper, Barbara Stanwyck
A group of academics have spent years shut up in a house working on the definitive encyclopedia. When one of them discovers that his entry on slang is hopelessly outdated, he ventures into the wide world to learn about the evolving language. Here he meets Sugarpuss O’Shea, a nightclub singer, who’s on top of all the slang—and, it just so happens, needs a place to stay.
Ball of Fire
Complicated Women
Hugh Munro Neely
Jane Fonda, Frances Dee
Looks at the stereotype-breaking films of the period from 1929, when movies entered the sound era, until 1934 when the Hays Code virtually neutered film content. No longer portrayed as virgins or vamps, the liberated female of the pre-code films had dimensions. Good girls had lovers and babies and held down jobs, while the bad girls were cast in a sympathetic light. And they did it all without apology.
Complicated Women
Pillow Talk
Michael Gordon
Rock Hudson, Doris Day
Playboy songwriter Brad Allen's succession of romances annoys his neighbor, interior designer Jan Morrow, who shares a telephone party line with him and hears all his breezy routines. After Jan unsuccessfully lodges a complaint against him, Brad sets about to seduce her in the guise of a sincere and upstanding Texas rancher. When mutual friend Jonathan discovers that his best friend is moving in on the girl he desires, however, sparks fly.
Pillow Talk
Singin' in the Corn
Del Lord
Judy Canova, Allen Jenkins
Judy McCoy, a fortune teller with a circus, learns she has inherited some property and heads west to collect. When she arrives in the desert ghost town, she learns that a stipulation in the will is that she has to return the property to the rightful owners, an Indian tribe, before she gets the remaining inheritance
Singin' in the Corn
Employees' Entrance
Roy Del Ruth
Warren William, Loretta Young
Kurt Anderson is the tyrannical manager of a New York department store in financial straits. He thinks nothing of firing an employee of more than 20 years or of toying with the affections of every woman he meets. One such victim is Madeline, a beautiful young woman in need of a job. Anderson hires her as a salesgirl, but not before the two spend the night together. Madeline is ashamed, especially after she falls for Martin West, a rising young star at the store. Her biggest fear is that Martin finds out the truth about her "career move."
Employees' Entrance
Dead End
William Wyler
Sylvia Sidney, Joel McCrea
Mobster "Baby Face" Martin returns home to visit the New York neighborhood where he grew up, dropping in on his mother, who rejects him because of his gangster lifestyle, and his old girlfriend, Francey, now a syphilitic prostitute. Martin also crosses paths with Dave, a childhood friend struggling to make it as an architect, and the Dead End Kids, a gang of young boys roaming the streets of the city's East Side slums.
Dead End
