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Devil Dogs?

Santa Trump.. 🇺🇸🇺🇸🇺🇸

357,065 subscribers

31,458 次观看 • 6 个月前 •via X (Twitter)

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Happy 250th, Devil Dogs.

Happy 250th, Devil Dogs.

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Tofu Militia vs. Devil Dogs — This Gon’ Be Good!!

Tofu Militia vs. Devil Dogs — This Gon’ Be Good!!

⚡️Puddin⚡️

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Man became devil: Such brutality with speechless dogs! 😰

Man became devil: Such brutality with speechless dogs! 😰

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They say the devil may cry, but this devil... he definitely made those dogs CRY 🤣😛

They say the devil may cry, but this devil... he definitely made those dogs CRY 🤣😛

SouL Esp Comm

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On this date the Devil Dogs raised our Flag in Victory after a long bloody battle.

On this date the Devil Dogs raised our Flag in Victory after a long bloody battle.

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Marines Turn 250 — Still Hot, Still Dangerous, Still Hungry for Crayons 🖍️🇺🇸 HAPPY BIRTHDAY DEVIL DOGS!!!

Marines Turn 250 — Still Hot, Still Dangerous, Still Hungry for Crayons 🖍️🇺🇸 HAPPY BIRTHDAY DEVIL DOGS!!!

⚡️Puddin⚡️

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Get ready liberals, Donald Trump just released the devil dogs. The Marines are about to finally teach you what F A F O means!

Get ready liberals, Donald Trump just released the devil dogs. The Marines are about to finally teach you what F A F O means!

Based Bandita

22,654 次观看 • 1 年前

Well done U.S. Marines Repost: Devil Dogs For 250 years, the world has come to know us by many names, but the one that echoes with unwavering strength and determination is Devil Dogs. Marines stationed across the globe commemorate the 250th anniversary of the Marine Corps, honoring a distinguished legacy of service, sacrifice, and unwavering fidelity to both the nation and fellow Marines.

Well done U.S. Marines Repost: Devil Dogs For 250 years, the world has come to know us by many names, but the one that echoes with unwavering strength and determination is Devil Dogs. Marines stationed across the globe commemorate the 250th anniversary of the Marine Corps, honoring a distinguished legacy of service, sacrifice, and unwavering fidelity to both the nation and fellow Marines.

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53,720 次观看 • 8 个月前

Joe Budden does an impromptu 3 round Verzuz between JAY-Z & kanye west. - “Champion” vs “Do It Again” - “Reservoir Dogs” vs “Monster” - “Song Cry” vs Devil In A New Dress”

Joe Budden does an impromptu 3 round Verzuz between JAY-Z & kanye west. - “Champion” vs “Do It Again” - “Reservoir Dogs” vs “Monster” - “Song Cry” vs Devil In A New Dress”

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…From now on till the day you die, wherever you are, every Marine is your brother—14 Days left until we to partake Devil Dogs. For God, Country, and Corps. 🦅🌎⚓️

…From now on till the day you die, wherever you are, every Marine is your brother—14 Days left until we to partake Devil Dogs. For God, Country, and Corps. 🦅🌎⚓️

The MSgt-Top G

23,167 次观看 • 9 个月前

20 years ago tonight. October 20, 2004. Four days of little or no sleep, pulverizing anxiety and consuming nothing but beer and Devil Dogs culminates in the greatest comeback in baseball history. That was a good time.

20 years ago tonight. October 20, 2004. Four days of little or no sleep, pulverizing anxiety and consuming nothing but beer and Devil Dogs culminates in the greatest comeback in baseball history. That was a good time.

Red

296,606 次观看 • 1 年前

It’s go time: Residents in central Massachusetts prepping for the first snow of the season and that means snagging the essentials to power through tomorrow wintery mess…Most popular items seems to be the milk and bread and Devil Dogs #7News

It’s go time: Residents in central Massachusetts prepping for the first snow of the season and that means snagging the essentials to power through tomorrow wintery mess…Most popular items seems to be the milk and bread and Devil Dogs #7News

Steve Cooper

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.Joe Budden brings a few rounds into the Kanye vs. JAY-Z debate 🎙️ - Champion vs. Do It Again - Monster vs. Reservoir Dogs - Devil In A New Dress vs. Song Cry - All Falls Down vs. Dead Presidents 📌 Episode 918 | “The Friendship Show” #JBP

.Joe Budden brings a few rounds into the Kanye vs. JAY-Z debate 🎙️ - Champion vs. Do It Again - Monster vs. Reservoir Dogs - Devil In A New Dress vs. Song Cry - All Falls Down vs. Dead Presidents 📌 Episode 918 | “The Friendship Show” #JBP

The JBP

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É mais ou menos consenso entre os analistas de que Trump evitará ao máximo entrar com forças terrestres na Venezuela e que, se atacar, preferirá meios ofensivos de muito longo alcance, como mísseis e bombas inteligentes lançadas por caças furtivos. Mas... se soldados americanos entrarem na Venezuela, os primeiros serão esses: os "Devil Dogs".

É mais ou menos consenso entre os analistas de que Trump evitará ao máximo entrar com forças terrestres na Venezuela e que, se atacar, preferirá meios ofensivos de muito longo alcance, como mísseis e bombas inteligentes lançadas por caças furtivos. Mas... se soldados americanos entrarem na Venezuela, os primeiros serão esses: os "Devil Dogs".

Hoje no Mundo Militar

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🇺🇸"PEOPLE MIXED UP THE WAR WITH THE WARRIOR" - General Thomas Draude JACK POSOBIEC LIVE FROM PHILADELPHIA FOR THE BIRTHDAY OF THE 250TH ANNIVERSARY OF THE MARINE CORP. Jack is joined by who was the COMMANDING OFFICER of Jack Posobiec Company during Vietnman in 1966 General Thomas Draude. They discuss the origination of the term "DEVIL DOGS" for the Marines. The General says that during 1966 OVER HALF THE COMPANY WAS WOUNDED. The General says they still used bayonets even in 1966..WOW. "ONCE A MARINE ONLY A MARINE."

🇺🇸"PEOPLE MIXED UP THE WAR WITH THE WARRIOR" - General Thomas Draude JACK POSOBIEC LIVE FROM PHILADELPHIA FOR THE BIRTHDAY OF THE 250TH ANNIVERSARY OF THE MARINE CORP. Jack is joined by who was the COMMANDING OFFICER of Jack Posobiec Company during Vietnman in 1966 General Thomas Draude. They discuss the origination of the term "DEVIL DOGS" for the Marines. The General says that during 1966 OVER HALF THE COMPANY WAS WOUNDED. The General says they still used bayonets even in 1966..WOW. "ONCE A MARINE ONLY A MARINE."

Johnny St.Pete

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Love this story "You have a Canaanite woman, non-Jewish, non-Hebrew. She said, "I got a daughter that's demon possessed" And Jesus said, basically..."I'm here for the Jews, not you. Salvation is of the Jews." She said, "Even the dogs eat the crumbs from the table." And Jesus spun around. SHE SAID SOMETHING THAT CAPTIVATED HIS HEART and then moved his hand. He said, "You go home. That demon's coming out of your daughter right now in my own name, the name of YESHUA HAMASHIACH, THE NAME OF JESUS THE MESSIAH" "WHY IS THE DEVIL coming out? HE SAID, "CUZ I HAVE NOT HEARD SO MUCH FAITH. NO, NOT EVEN AMONGST MY OWN kin folk."

Love this story "You have a Canaanite woman, non-Jewish, non-Hebrew. She said, "I got a daughter that's demon possessed" And Jesus said, basically..."I'm here for the Jews, not you. Salvation is of the Jews." She said, "Even the dogs eat the crumbs from the table." And Jesus spun around. SHE SAID SOMETHING THAT CAPTIVATED HIS HEART and then moved his hand. He said, "You go home. That demon's coming out of your daughter right now in my own name, the name of YESHUA HAMASHIACH, THE NAME OF JESUS THE MESSIAH" "WHY IS THE DEVIL coming out? HE SAID, "CUZ I HAVE NOT HEARD SO MUCH FAITH. NO, NOT EVEN AMONGST MY OWN kin folk."

Seethroughitall

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“If I Were The Devil": A Warning to America from Paul Harvey “If I were the Prince of Darkness, I’d want to engulf the whole world in darkness. And I’d have a third of its real estate, and four-fifths of its population, but I wouldn’t be happy until I had seized the ripest apple on the tree — Thee. So I’d set about however necessary to take over the United States. I’d subvert the churches first — I’d begin with a campaign of whispers. With the wisdom of a serpent, I would whisper to you as I whispered to Eve: ‘Do as you please. To the young, I would whisper that ‘The Bible is a myth.’ I would convince them that man created God instead of the other way around. I would confide that what’s bad is good, and what’s good is ‘square.’ And the old, I would teach to pray, after me, ‘Our Father, which art in Washington… And then I’d get organized. I’d educate authors in how to make lurid literature exciting, so that anything else would appear dull and uninteresting. I’d threaten TV with dirtier movies and vice versa. I’d pedal narcotics to whom I could. I’d sell alcohol to ladies and gentlemen of distinction. I’d tranquilize the rest with pills. If I were the devil I’d soon have families at war with themselves, churches at war with themselves, and nations at war with themselves; until each in its turn was consumed. And with promises of higher ratings I’d have mesmerizing media fanning the flames. If I were the devil I would encourage schools to refine young intellects, but neglect to discipline emotions — just let those run wild, until before you knew it, you’d have to have drug sniffing dogs and metal detectors at every schoolhouse door. Within a decade I’d have prisons overflowing, I’d have judges promoting pornography — soon I could evict God from the courthouse, then from the schoolhouse, and then from the houses of Congress. And in His own churches I would substitute psychology for religion, and deify science. I would lure priests and pastors into misusing boys and girls, and church money. If I were the devil I’d make the symbols of Easter an egg and the symbol of Christmas a bottle. If I were the devil I’d take from those who have, and give to those who want until I had killed the incentive of the ambitious. And what do you bet I could get whole states to promote gambling as the way to get rich? I would caution against extremes and hard work in Patriotism, in moral conduct. I would convince the young that marriage is old-fashioned, that swinging is more fun, that what you see on the TV is the way to be. And thus, I could undress you in public, and I could lure you into bed with diseases for which there is no cure. In other words, if I were the devil I’d just keep right on doing what he’s doing.” This is the spirit of the antichrist, which you have heard is coming and even now is already in the world. - 1 John 4:3 $NATI 👁️ #IlluminatiCoin 🦉 Alex Jones 🔥 Join us:

“If I Were The Devil": A Warning to America from Paul Harvey “If I were the Prince of Darkness, I’d want to engulf the whole world in darkness. And I’d have a third of its real estate, and four-fifths of its population, but I wouldn’t be happy until I had seized the ripest apple on the tree — Thee. So I’d set about however necessary to take over the United States. I’d subvert the churches first — I’d begin with a campaign of whispers. With the wisdom of a serpent, I would whisper to you as I whispered to Eve: ‘Do as you please. To the young, I would whisper that ‘The Bible is a myth.’ I would convince them that man created God instead of the other way around. I would confide that what’s bad is good, and what’s good is ‘square.’ And the old, I would teach to pray, after me, ‘Our Father, which art in Washington… And then I’d get organized. I’d educate authors in how to make lurid literature exciting, so that anything else would appear dull and uninteresting. I’d threaten TV with dirtier movies and vice versa. I’d pedal narcotics to whom I could. I’d sell alcohol to ladies and gentlemen of distinction. I’d tranquilize the rest with pills. If I were the devil I’d soon have families at war with themselves, churches at war with themselves, and nations at war with themselves; until each in its turn was consumed. And with promises of higher ratings I’d have mesmerizing media fanning the flames. If I were the devil I would encourage schools to refine young intellects, but neglect to discipline emotions — just let those run wild, until before you knew it, you’d have to have drug sniffing dogs and metal detectors at every schoolhouse door. Within a decade I’d have prisons overflowing, I’d have judges promoting pornography — soon I could evict God from the courthouse, then from the schoolhouse, and then from the houses of Congress. And in His own churches I would substitute psychology for religion, and deify science. I would lure priests and pastors into misusing boys and girls, and church money. If I were the devil I’d make the symbols of Easter an egg and the symbol of Christmas a bottle. If I were the devil I’d take from those who have, and give to those who want until I had killed the incentive of the ambitious. And what do you bet I could get whole states to promote gambling as the way to get rich? I would caution against extremes and hard work in Patriotism, in moral conduct. I would convince the young that marriage is old-fashioned, that swinging is more fun, that what you see on the TV is the way to be. And thus, I could undress you in public, and I could lure you into bed with diseases for which there is no cure. In other words, if I were the devil I’d just keep right on doing what he’s doing.” This is the spirit of the antichrist, which you have heard is coming and even now is already in the world. - 1 John 4:3 $NATI 👁️ #IlluminatiCoin 🦉 Alex Jones 🔥 Join us:

whiterabbitbot

32,562 次观看 • 2 年前

Something strange happened in the mid-noughties... I made three different music videos for Suddenly I See ⚡️ 20 years ago today I first released this song, so I thought it'd be a good opportunity to tell a story... The story starts in the summer of 2005, when our protagonist (moi!) has just agreed that ‘Suddenly I See’ would be the 3rd single from Eye To The Telescope. We set to work on the music video: a performance battle between light KT and dark KT! This version was perhaps the closest to how people were discovering me - through my live television performances and gigs. We shot this version where I am battling another version of myself, with a cool result. This was the video fans in the UK got, and the song wove some magic out on the radio waves. NEXT…my US label decided we needed to make a new video, especially for the US fans. This was a super-cool opportunity which I jumped at, as it meant creatively a whole new take on the song, and I got to work with a Director whose work I loved, Patrick Daughters. I particularly loved his ‘Gold Lion’ video for Yeah, Yeah, Yeahs ✨ We flew to Bucharest, Hungary, to shoot this video, which is circus-themed. This video is definitely one of the most-out there ones I ever shot…parachuting dogs, me as a show girl, me on a trapeze?! I absolutely loved making this video, and also really loved the result, so imagine my surprise when the label told me they didn't want to release it! They felt the old crumbling apartment building shots were just too bleak. It was around the time when the song was used in the movie ‘The Devil Wears Prada’ and had taken on a shiny new meaning. So…we made a THIRD video, which replaced the circus video in the USA. This new, animated version sees me as a 50 foot woman journeying through an animated pop-up world. It's really colourful and reflects that new life the song was taking on. It was a very fun video to make. If you had to ask me to pick my favourite...I’d have to go with parachuting Jack Russells, Top Hat and moustache!!

Something strange happened in the mid-noughties... I made three different music videos for Suddenly I See ⚡️ 20 years ago today I first released this song, so I thought it'd be a good opportunity to tell a story... The story starts in the summer of 2005, when our protagonist (moi!) has just agreed that ‘Suddenly I See’ would be the 3rd single from Eye To The Telescope. We set to work on the music video: a performance battle between light KT and dark KT! This version was perhaps the closest to how people were discovering me - through my live television performances and gigs. We shot this version where I am battling another version of myself, with a cool result. This was the video fans in the UK got, and the song wove some magic out on the radio waves. NEXT…my US label decided we needed to make a new video, especially for the US fans. This was a super-cool opportunity which I jumped at, as it meant creatively a whole new take on the song, and I got to work with a Director whose work I loved, Patrick Daughters. I particularly loved his ‘Gold Lion’ video for Yeah, Yeah, Yeahs ✨ We flew to Bucharest, Hungary, to shoot this video, which is circus-themed. This video is definitely one of the most-out there ones I ever shot…parachuting dogs, me as a show girl, me on a trapeze?! I absolutely loved making this video, and also really loved the result, so imagine my surprise when the label told me they didn't want to release it! They felt the old crumbling apartment building shots were just too bleak. It was around the time when the song was used in the movie ‘The Devil Wears Prada’ and had taken on a shiny new meaning. So…we made a THIRD video, which replaced the circus video in the USA. This new, animated version sees me as a 50 foot woman journeying through an animated pop-up world. It's really colourful and reflects that new life the song was taking on. It was a very fun video to make. If you had to ask me to pick my favourite...I’d have to go with parachuting Jack Russells, Top Hat and moustache!!

KT Tunstall

11,433 次观看 • 10 个月前

Remembering film director Lloyd Bacon on his Birthday Born | December 4, 1889 in San Jose, California, USA Died | November 15, 1955 aged 65 in Burbank, California, USA Video | The “By a Waterfall” production number from Footlight Parade (1933) featuring 300 choreographed swimmers. One of the workhorses in Warner Brothers' stable of directors in the 1930s, Lloyd Bacon didn't have a career as loaded with classic films as many of his more famous contemporaries. What few “classics” he had his hand in (42nd Street (1933), Footlight Parade (1933) are so overshadowed by the dazzling surrealistic choreography of Busby Berkeley that casual film buffs today often forget they were actually directed by Bacon. While his resume lacks the drama of failed productions and tales of an unbridled ego, he consistently enriched the studio's coffers, directing a handful of its biggest hits of the late 1920s and 1930s. Bacon's career amounts to that of a competent ― and at times brilliant ― director who did the best with the material handed to him in assembly-line fashion. Lloyd Bacon was born into a theatrical family (his father was Frank Bacon, a playwright and stage actor). His parents enlisted all the Bacon children onto the stage. Despite having a strong interest in law as a student at Santa Clara College, Lloyd opted for an acting career after appearing in a student production of “The Passion Play”. In 1911 he joined David Belasco's Los Angeles Stock Company (with Lewis Stone), touring the country and gaining good notices in a Broadway run of the hit “Cinderella Man”, and gaining further experience during a season of vaudeville. He switched gears in 1915 and took a stab at silent Hollywood, playing the heavy in several of Gilbert M. 'Broncho Billy' Anderson's shorts and pulling double duty as a stunt man. With America's entry into World War I in 1917, Bacon enlisted in the Navy and was assigned to the Photo Department. This began a lifelong admiration for the service and might explain the Navy being a favourite recurring theme in many of his films. After the war's end Bacon moved from Mutual (Charles Chaplin's studio at the time) to Triangle as a comedy actor. It was at this point that he got his first taste of directing ― he had let everyone at the studio know he had an interest in helming a picture, and when the director of a now forgotten Lloyd Hamilton comedy short fell ill, Bacon was given his chance. Constantly moving, he joined tightwad producer Mack Sennett as a gag writer. Sennett, sensing a bargain, happily accommodated Lloyd's desire to become a full-time director by early 1921. The Sennett studio was already in an irreversible decline during Bacon's tenure there but it allowed the novice director to gain a wealth of experience. He apprenticed for Sennett until joining Warner Brothers in 1925, an association that would last a remarkable 18 years and begin when the working-man's studio was building a strong stable of contract directors that included Michael Curtiz, Alan Crosland, John G. Adolfi and Mervyn LeRoy. Although Lloyd never became known for a particular style other than a well-placed close up, his ability to bring in an entertaining film on time and within budget earned him such enormous respect from the five Warner Brothers that he was soon handed control over important projects, including The Singing Fool (1928), Al Jolson's follow-up to The Jazz Singer (1927), which grossed an unheard-of (for Warners, at least) $4,000,000 in domestic receipts alone ― the studio's #1 hit for 1928. Bacon was rewarded by becoming the highest paid director on the studio lot, earning over $200,000 a year throughout the Depression. He was called upon to direct the studio's big-budget production of Moby Dick (1930), which garnered good notices, but it's a version that's barely remembered today. The 1930s saw Bacon assigned to the assembly line; aside from the Busby Berkeley-choreographed films, he directed many of James Cagney's crowd-pleasing two-week wonders, including Picture Snatcher (1933) (Cagney once remarked that the schedule on that picture was so tight that, one time after he and the cast had rehearsed a particular scene, Cagney said, “OK, Lloyd, are you ready to shoot?” Bacon grinned and said, “I just did!”) and The Irish in Us (1935). As a reward, he was occasionally afforded more time and money on productions such as Here Comes the Navy (1934) and Devil Dogs of the Air (1935). He also directed Cagney's return effort after his ill-advised move to cheapjack Grand National Pictures after one of his periodic salary disputes with studio head Jack L. Warner ― the badly miscast if frenetic Boy Meets Girl (1938). This was one of Cagney's least critically acclaimed Warner Brothers films of the 1930s, but a smash hit for the studio. During his years at Warners, Bacon gained a reputation as a clothes horse, the dapper director arriving on the set dressed to the nines, wearing expensive hats that he would hurl around the set when expressing his dissatisfaction (he ruined a lot of hats) at an actor's performance or missed cue. Bacon continued to turn out profitable films for the studio until moving to 20th Century-Fox in 1944 (a logical move, since the recently discharged Darryl F. Zanuck knew Bacon from his early days at Warners). He stayed at Fox until 1949, then bounced among Columbia, Fox, Universal and finally the chaotically-run RKO in 1954. He worked virtually until his death from a cerebral hemorrhage at age 65.

Remembering film director Lloyd Bacon on his Birthday Born | December 4, 1889 in San Jose, California, USA Died | November 15, 1955 aged 65 in Burbank, California, USA Video | The “By a Waterfall” production number from Footlight Parade (1933) featuring 300 choreographed swimmers. One of the workhorses in Warner Brothers' stable of directors in the 1930s, Lloyd Bacon didn't have a career as loaded with classic films as many of his more famous contemporaries. What few “classics” he had his hand in (42nd Street (1933), Footlight Parade (1933) are so overshadowed by the dazzling surrealistic choreography of Busby Berkeley that casual film buffs today often forget they were actually directed by Bacon. While his resume lacks the drama of failed productions and tales of an unbridled ego, he consistently enriched the studio's coffers, directing a handful of its biggest hits of the late 1920s and 1930s. Bacon's career amounts to that of a competent ― and at times brilliant ― director who did the best with the material handed to him in assembly-line fashion. Lloyd Bacon was born into a theatrical family (his father was Frank Bacon, a playwright and stage actor). His parents enlisted all the Bacon children onto the stage. Despite having a strong interest in law as a student at Santa Clara College, Lloyd opted for an acting career after appearing in a student production of “The Passion Play”. In 1911 he joined David Belasco's Los Angeles Stock Company (with Lewis Stone), touring the country and gaining good notices in a Broadway run of the hit “Cinderella Man”, and gaining further experience during a season of vaudeville. He switched gears in 1915 and took a stab at silent Hollywood, playing the heavy in several of Gilbert M. 'Broncho Billy' Anderson's shorts and pulling double duty as a stunt man. With America's entry into World War I in 1917, Bacon enlisted in the Navy and was assigned to the Photo Department. This began a lifelong admiration for the service and might explain the Navy being a favourite recurring theme in many of his films. After the war's end Bacon moved from Mutual (Charles Chaplin's studio at the time) to Triangle as a comedy actor. It was at this point that he got his first taste of directing ― he had let everyone at the studio know he had an interest in helming a picture, and when the director of a now forgotten Lloyd Hamilton comedy short fell ill, Bacon was given his chance. Constantly moving, he joined tightwad producer Mack Sennett as a gag writer. Sennett, sensing a bargain, happily accommodated Lloyd's desire to become a full-time director by early 1921. The Sennett studio was already in an irreversible decline during Bacon's tenure there but it allowed the novice director to gain a wealth of experience. He apprenticed for Sennett until joining Warner Brothers in 1925, an association that would last a remarkable 18 years and begin when the working-man's studio was building a strong stable of contract directors that included Michael Curtiz, Alan Crosland, John G. Adolfi and Mervyn LeRoy. Although Lloyd never became known for a particular style other than a well-placed close up, his ability to bring in an entertaining film on time and within budget earned him such enormous respect from the five Warner Brothers that he was soon handed control over important projects, including The Singing Fool (1928), Al Jolson's follow-up to The Jazz Singer (1927), which grossed an unheard-of (for Warners, at least) $4,000,000 in domestic receipts alone ― the studio's #1 hit for 1928. Bacon was rewarded by becoming the highest paid director on the studio lot, earning over $200,000 a year throughout the Depression. He was called upon to direct the studio's big-budget production of Moby Dick (1930), which garnered good notices, but it's a version that's barely remembered today. The 1930s saw Bacon assigned to the assembly line; aside from the Busby Berkeley-choreographed films, he directed many of James Cagney's crowd-pleasing two-week wonders, including Picture Snatcher (1933) (Cagney once remarked that the schedule on that picture was so tight that, one time after he and the cast had rehearsed a particular scene, Cagney said, “OK, Lloyd, are you ready to shoot?” Bacon grinned and said, “I just did!”) and The Irish in Us (1935). As a reward, he was occasionally afforded more time and money on productions such as Here Comes the Navy (1934) and Devil Dogs of the Air (1935). He also directed Cagney's return effort after his ill-advised move to cheapjack Grand National Pictures after one of his periodic salary disputes with studio head Jack L. Warner ― the badly miscast if frenetic Boy Meets Girl (1938). This was one of Cagney's least critically acclaimed Warner Brothers films of the 1930s, but a smash hit for the studio. During his years at Warners, Bacon gained a reputation as a clothes horse, the dapper director arriving on the set dressed to the nines, wearing expensive hats that he would hurl around the set when expressing his dissatisfaction (he ruined a lot of hats) at an actor's performance or missed cue. Bacon continued to turn out profitable films for the studio until moving to 20th Century-Fox in 1944 (a logical move, since the recently discharged Darryl F. Zanuck knew Bacon from his early days at Warners). He stayed at Fox until 1949, then bounced among Columbia, Fox, Universal and finally the chaotically-run RKO in 1954. He worked virtually until his death from a cerebral hemorrhage at age 65.

Hollywood Golden Age of Cinema

39,801 次观看 • 7 个月前