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Fights of Nations
Filmed Jan. 17, 19, and 23-24, 1906, in the Biograph New York City studio. Scene 2 of 6 "Our Hebrew Friends" opens to a street set with a painted backdrop of storefronts. A man apparently identified as Jewish through his dark hair and full beard argues with a Jewish necktie peddler. The argument soon escalates into a shoving match, through which a portly gentleman tries to pass. There is a funny bit as the man tries to pass and the men who are arguing keep moving in front of him to block his path. A third man, also apparently Jewish, happens upon the scene and soon joins the fight. The three men turn in a circle kicking each other ( *** very funny ***) until a policeman arrives and breaks them apart. The third man draws the officer aside with an offer of a bribe, which the policeman happily accepts. The money has a string attached to it and it is taken back secretly as the policeman walks away and the string is pulled. The three men rejoice after the policeman walks off. From Biograph bulletin no. 94: Our latest production, under six titles, represents various types and nationalities, with tragedy and comedy intermingled. Every scene is beautifully staged, and each nationality well represented. "Our Hebrew Friends" in a characteristic battle--all talk, but no blows. A third Hebrew is drawn into the argument, in the heat of which a policeman appears and threatens to arrest them. The third Hebrew is made the innocent victim. He offers the officer a bribe of a roll of a roll of money, which is accepted, but the Jew steals it back.
Fights of Nations
Filmed Jan. 17, 19, and 23-24, 1906, in the Biograph New York City studio. Scene 3 of 6 'Hoot mon!' A Scottish Combat" opens with the end of a duel between two uniformed men in kilts as one falls to the ground wounded. A third kilted man enters and sees the fallen man, and in turn fights with the victor with swords and shields. The third man ultimately disarms his opponent and stands victorious with his foot upon the man's chest. From Biograph bulletin no. 94: Our latest production, under six titles, represents various types and nationalities, with tragedy and comedy intermingled. Every scene is beautifully staged, and each nationality well represented. Then follows "A Scottish Combat." A broadsword engagement between two of America's leading actors in Scotch costumes showing how quick and accurate these deadly weapons can be handled.
Fights of Nations
Filmed Jan. 17, 19, and 23-24, 1906, in the Biograph New York City studio. Scene 6 of 6 00.29.28 Closes with "America, The Land of the Free," on a set of a grand staircase decorated with various flags and the American eagle, and two large U.S. flags draped on either side. In pairs, different characters descend the staircase and happily introduce themselves: a dark-haired man in uniform and a woman in black lace (perhaps representing the French), a bearded man in a different uniform and a woman in a white gown (perhaps representing Russia), a very stout older gentleman bearing the British flag on his shirt, and the Spaniard and Mexican from the earlier scene. A young Native American woman hurries down the stairs and kneels center stage with her head bowed. Closes with two young U.S. soldiers flanking the entrance of Uncle Sam, who is cheered by all. From Biograph bulletin no. 94: Our latest production, under six titles, represents various types and nationalities, with tragedy and comedy intermingled. Every scene is beautifully staged, and each nationality well represented. "America" then serves as an appropriate finale. The scene is magnificently decorated with emblems of all nations, the American Eagle surmounting them. In harmony, peace and goodwill the characters of the different nations appear, making it an allegorical representation of "Peace," with Uncle Sam presiding at a Congress of the Powers.
Fights of Nations
Filmed Jan. 17, 19, and 23-24, 1906, in the Biograph New York City studio. 6 different scenes 00.20.17 In "Mexico and Spain," a man dressed as a Mexican peasant spies on a happy young woman and her suitor, who wears a fancy Spanish, matador-style outfit. The woman dances for her companion, then the couple embrace and sit on a stone bench, holding hands. The jealous peasant rises from his hiding place to stab his rival, but the woman grabs his arm and stops him. The two men engage in a fierce knife fight, with the woman at one point helping her suitor regain his lost weapon. The Spaniard finally disarms his opponent, but consents to the woman's begging and spares the peasant's life. 00.22.35 "Our Hebrew Friends" opens to a street set with a painted backdrop of storefronts. A man apparently identified as Jewish through his dark hair and full beard argues with a Jewish necktie peddler. The argument soon escalates into a shoving match, through which a portly gentleman tries to pass. There is a funny bit as the man tries to pass and the men who are arguing keep moving in front of him to block his path. A third man, also apparently Jewish, happens upon the scene and soon joins the fight. The three men turn in a circle kicking each other ( *** very funny ***) until a policeman arrives and breaks them apart. The third man draws the officer aside with an offer of a bribe, which the policeman happily accepts. The money has a string attached to it and it is taken back secretly as the policeman walks away and the string is pulled. The three men rejoice after the policeman walks off. 00.23.49 "'Hoot mon!' A Scottish Combat" opens with the end of a duel between two uniformed men in kilts as one falls to the ground wounded. A third kilted man enters and sees the fallen man, and in turn fights with the victor with swords and shields. The third man ultimately disarms his opponent and stands victorious with his foot upon the man's chest. 00.24.40 "Sunny Africa, Eighth Avenue, New York" takes place in an African-American dance hall. After a dance number, a young man in a cap and striped shirt sits for a drink with his female companion. He is soon induced, however, to perform an energetic tap dance as the other patrons watch and clap. When he is motioned outside after the dance, an older suited gentleman notices his absence and introduces himself to the young woman, who invites him to sit down. They have a drink and are dancing a lively cakewalk when the young man returns and angrily breaks them apart. The two men draw large knives and fight, until the woman and a waiter finally separate them. Smiling, the young man and his lady cakewalk out the door. 00.27.17 "Sons of the Ould Sod" opens on a set of a two-story tenement. A woman hangs clothes on a line from an upper window as her husband returns home with a pail of beer. The man next door--who, like the husband, is balding with full sideburns and a beard--sits on a bench in front of the building and reads a newspaper. The woman accidentally drops a wet sheet on the neighbor's head, prompting a battle of words and shaken fists between the angry man on the street and her husband in the window above. When the husband dumps what appears to be sawdust, the neighbor retaliates by drenching him with a hose until the woman breaks a barrel over his head. The husband comes downstairs and the fight becomes a brawl between the two men. The woman finally ends the battle by bringing out a bucket of beer and pouring drinks for the weary men, who laugh and toast each other. 00.29.28 Closes with "America, The Land of the Free," on a set of a grand staircase decorated with various flags and the American eagle, and two large U.S. flags draped on either side. In pairs, different characters descend the staircase and happily introduce themselves: a dark-haired man in uniform and a woman in black lace (perhaps representing the French), a bearded man in a different uniform and a woman in a white gown (perhaps representing Russia), a very stout older gentleman bearing the British flag on his shirt, and the Spaniard and Mexican from the earlier scene. A young Native American woman hurries down the stairs and kneels center stage with her head bowed. Closes with two young U.S. soldiers flanking the entrance of Uncle Sam, who is cheered by all. From Biograph bulletin no. 94: Our latest production, under six titles, represents various types and nationalities, with tragedy and comedy intermingled. Every scene is beautifully staged, and each nationality well represented. "Mexico vs. Spain," the first scene, shows the rejected Mexican suitor, in a jealous rage, watching the love-making between Carlos, the Spaniard, his hated rival, and the beautiful senorita. With drawn stiletto, he pounces upon the Don, but the senorita seizes his arm, thus saving her lover from a horrible death. After a terrific hand-to-hand encounter, the Don has the point of vantage over the Mexican, but through the pleadings of the girl releases him and bids him go. Next is shown two of "Our Hebrew Friends" in a characteristic battle--all talk, but no blows. A third Hebrew is drawn into the argument, in the heat of which a policeman appears and threatens to arrest them. The third Hebrew is made the innocent victim. He offers the officer a bribe of a roll of a roll of money, which is accepted, but the Jew steals it back. Then follows "A Scottish Combat." A broadsword engagement between two of America's leading actors in Scotch costumes showing how quick and accurate these deadly weapons can be handled. A comedy scene "Sunny Africa" takes place in a concert hall on Eighth Avenue, New York, frequented by the colored element. Buck dancing, cake walking, etc., are indulged in. The Bully resents the attentions paid to his sweetheart by a dusky gentleman. Immediately razors are drawn and the affair winds up in a rough-house. In "Sons of the Ould Sod" we show a laughable scrap between Haggerty and Fogarty caused by the accidental dropping of a wet sheet by Mrs. Haggerty from her window upon the head of Fogarty. The men battle furiously until that soothing balm to hurt feelings, Beer, is proferred by the everthoughtful Mrs. Haggerty. "America" then serves as an appropriate finale. The scene is magnificently decorated with emblems of all nations, the American Eagle surmounting them. In harmony, peace and goodwill the characters of the different nations appear, making it an allegorical representation of "Peace," with Uncle Sam presiding at a Congress of the Powers. i +
Latina, Contortionist
Filmed Nov. 15, 1905, in the Biograph New York City studio. A woman wearing a light-colored leotard, gathered at the waist, and tights stands against a black background. Although she is filmed in a long shot, her feet are cut off in the frame. She opens with a flourish of her arms and faces the camera. First stretching up with her arms, Latina then bends in half at the waist, steps into a metal ring or hoop, and places her head in the ring as well. Still bent at the waist, she moves the hoop up past one shoulder and then the other, past her waist, and over her buttocks, finishing with her body completely free of the ring now held up behind her back. Latina repeats the contortion act in reverse, passing the ring down her doubled-up body and past her shoulders to the ground. She steps out of the hoop and gestures with her arm. Turning to face screen left, with her left side in profile, Latina places her hands behind her neck, bends at the waist until her head touches her legs, steps into the ring on the floor, and repeats her contortionist trick as above, first from the ground up and then back down. She faces the camera when finished, throws the audience a kiss, and gives a small bow. The film then cuts to a medium shot of Latina, from the bust up. She interlaces her fingers and holds out her arms in front of her with palms towards the camera, so that her elbows point out. In that position, she raises her arms over and behind her head, and then down her back, dislocating her shoulders in order to achieve that motion. The film ends as she turns her back to the camera. From the New York clipper, 12/26/03, p. 5: Mlle. Latina, whom Eugene Sandow characterizes as a type of "the perfect woman," is a more than ordinary contortionist, and saves a rather repellant specialty by the pleasant manner in which she performs her work. This little lady does her work in a clever and most finished style, her costumes are always bright, clean, and attractive looking. She is engaged as a special feature with Neil Burgess' "County Fair" Co. this season.
Latina, Dislocation Act
Filmed Nov. 15, 1905, in the Biograph New York City studio. Opens with a repeat of the last scene in "Latina, contortionist." In a medium shot from the bust up, Latina faces the camera and interlaces her fingers with her arms held out in front of her, palms towards the camera and elbows pointed out. In that position, she raises her arms over and behind her head and then down her back, dislocating her shoulders in order to achieve that motion. She then turns her back to the camera, with her hands still locked behind her, and slowly brings her locked arms up and over her head; the viewer can clearly see her shoulder joints dislocate in the process. She turns back to face the camera as her arms continue to return to their starting position in front of her. Latina closes by unlacing her fingers and spreading her arms with a flourish. From K.R. Niver, Early motion pictures: Taken from the audience's point of view, the film shows a contortionist demonstrating that she can completely revolve her arms in the shoulder sockets. The exhibition was a waist-high front view, side view, and rear view. From the New York clipper, 12/26/03, p. 5: Mlle. Latina, whom Eugene Sandow characterizes as a type of "the perfect woman," is a more than ordinary contortionist, and saves a rather repellant specialty by the pleasant manner in which she performs her work. This little lady does her work in a clever and most finished style, her costumes are always bright, clean, and attractive looking. She is engaged as a special feature with Neil Burgess' "County Fair" Co. this season.
Sandow
Filmed ca. 1896 in the Biograph New York City studio. Strong-man Eugene (Eugen) Sandow poses in a long shot on a bare stage against a black background, wearing only tight trunks and laced sandals. He begins with his arms folded against his chest, looking off screen left, then strikes a variety of poses that accentuate his muscular development. These positions include flexing his right arm with the fist to his head and face to shoulder; turning his back to the camera and flexing his upper arms and shoulder muscles; and, with his back still to the camera, stretching out and up with one arm at a time. Sandow then turns back to face the camera and performs a standing backflip. He closes in the same pose with which he opened. From Biograph photo catalog: 24 feet. Still another picture of the great athlete displaying his muscles, and turning a somersault without touching hands to the floor.
Wilburn Brothers Show No.321
Wilburn Brothers "Tell Me Nobody Counts But Me" Harold Morrison "Little Maggie" Charlie Walker "Honky Tonk Season" Pam Miller "Throw a Little Love My Way" Loretta Lynn "Living My Lifetime For You" Buddy Spiker "Norwegian woods" Wilburn Brothers, Charlie Walker, Pam Miller, Loretta Lynn, and Harold Morrison "Farther Along" Charlie Walker "Don't Squeeze My Charmin" Loretta Lynn "Dark Moon"
Kawana Trio
Same as catalog #321938 Filmed ca. 1918 in Chicago. From Spanuth's Original Vod-A-Vil Movies, no. 6 Opening title identifies the Kawana Trio as "artistic foot jugglers." The camera iris opens to reveal three Asians--two men and a woman--dressed in kimonos and looking down. They raise their heads and look at the camera, smiling, as the iris closes. Another iris effect opens to a stage with a dark background and a decorated, cushioned platform center stage. The men now wear white leotards with sashes tied at their waists. One of the two men reclines on the platform with his buttocks raised and supported by the cushion and his legs up in the air. The woman, dressed in a white leotard with a camisole-type top, enters and is helped up onto the reclining man's feet by the other partner. Starting on her stomach, the woman is juggled first to a sitting and then a side-reclining position. The film cuts to a closeup of the woman's body and the juggler's feet as he flips her into various positions, and then back to the long shot as she is juggled on her knees, feet, and stomach; somersaulted to a sitting position; and somersaulted to her back and spun. The trio then take a bow to the camera from the stage. The film cuts to a longer shot of the stage with two platforms on either side and the woman standing by a smaller platform center stage and behind the others. With her "spotting" them, the two men position themselves on their backs on the two platforms with their legs facing each other, and take turns juggling and spinning a circus-type barrel and then tossing it to the other, all with their feet. After several times back and forth, the two men stand on the stage and gesture to the camera. The film then cuts to a closer shot of one man positioned on a platform in center stage. The second acrobat runs and jumps onto the reclining man's feet and is juggled and somersaulted. As the second man is spun in a sitting position, the film cuts to a closeup. The man also spins in a tucked position, and then back to a sitting one. With a final cut to the original long shot, the first man continues to juggle and flip the other. Closes with a bow to the camera from the trio.
Kawana Trio
Same as catalog #321937 Filmed ca. 1918 in Chicago. From Spanuth's Original Vod-A-Vil Movies, no. 6 Opening title identifies the Kawana Trio as "artistic foot jugglers." The camera iris opens to reveal three Asians--two men and a woman--dressed in kimonos and looking down. They raise their heads and look at the camera, smiling, as the iris closes. Another iris effect opens to a stage with a dark background and a decorated, cushioned platform center stage. The men now wear white leotards with sashes tied at their waists. One of the two men reclines on the platform with his buttocks raised and supported by the cushion and his legs up in the air. The woman, dressed in a white leotard with a camisole-type top, enters and is helped up onto the reclining man's feet by the other partner. Starting on her stomach, the woman is juggled first to a sitting and then a side-reclining position. The film cuts to a closeup of the woman's body and the juggler's feet as he flips her into various positions, and then back to the long shot as she is juggled on her knees, feet, and stomach; somersaulted to a sitting position; and somersaulted to her back and spun. The trio then take a bow to the camera from the stage. The film cuts to a longer shot of the stage with two platforms on either side and the woman standing by a smaller platform center stage and behind the others. With her "spotting" them, the two men position themselves on their backs on the two platforms with their legs facing each other, and take turns juggling and spinning a circus-type barrel and then tossing it to the other, all with their feet. After several times back and forth, the two men stand on the stage and gesture to the camera. The film then cuts to a closer shot of one man positioned on a platform in center stage. The second acrobat runs and jumps onto the reclining man's feet and is juggled and somersaulted. As the second man is spun in a sitting position, the film cuts to a closeup. The man also spins in a tucked position, and then back to a sitting one. With a final cut to the original long shot, the first man continues to juggle and flip the other. Closes with a bow to the camera from the trio.
Three Acrobats
Vaudeville stage act of two male and one female clown-acrobats who make use of a constructed "break-away" wall of spring-hinged windows and doors. Begins with a male clown in dark tights and leotard with a white clown collar tumbling through the set's upper window, as a second male in a light suitcoat over dark tights and leotard tumbles out the bottom window. Both men have painted faces and wild clown hair. As they chase each other in and around the wall's doors, a dark-haired woman in light tights and leotard, without greasepaint, surreptitiously hits one of the male clowns with a board. That man thinks it is the other male who has struck him, and the chase continues. This business is repeated with a bucket. As the first male clown kicks the other, however, the woman is spotted and blamed for the incident, resulting in a chase between all three "acrobats" in and out of the set's doors.
Treloar and Miss Marshall
Filmed January 4, 1904, in the Edison New York City studio. Physical Culture Show. Performers: Treloar, Beatrice Marshall. Opens with a woman posing on a pedestal, dressed in a white body leotard with a sash tied at her hips. Marshall continues with various feminine poses, reminiscent of classic Greek statuary, to accentuate her figure. Film cuts to Treloar posed on the bare stage without a pedestal. He wears brief leopard-skin trunks or short tunic, wrist bands, and Roman-looking laced sandals. His poses accentuate the muscular development of his upper body, particularly that of his arms, and include movements that make the muscles jump. Treloar finishes with a slight nod to the camera. From an advertisement in the New York Clipper, 1/9/04, p. 1105: The Example Par Excellence of 20th Century Athleticism -- TRELOAR (A.T. Jennings) -- Ex-Harvard varsity oarsman and athlete. Winner of $1,000 prize for Most Perfectly Developed Man in the World, at Madison Sq. Garden, week of Dec. 29, '03, against competitors from all parts of the world, by Popular Vote, corroborated by Jury of Sculptors and Physicians, assisted by Mlle. Edna Tempest. The Best Equipped and Most Elegantly Costumed Athletic Act in Vaudeville, a Pronounced Success this Season on the Keith and Proctor Circuits. According to the New York times article, the $500 first prize for the best-developed man at the Madison Square Garden physical culture exhibition went to Hugh Jennings of New York City. Third prize in the best-developed woman competition went to Miss Beatrice Marshall of New York City.
Kruger and Ward
Probably filmed ca. 1918-19 in Chicago. From Spanuth's Original Vod-A-Vil Movies, no. 6 Opening title introduces "Kruger and Ward, the tall and short of it." The camera iris opens on a stage with a painted backdrop of a canyon and waterfall. Two clowns walk across the stage: a dwarf with a fake bald pate dressed in evening clothes and a top hat, and a tall, thin clown dressed as a woman. The dwarf follows the "woman" with a handkerchief, trying to get her attention, as the woman circles and appears to be looking for something on the ground. She finally notices her little suitor, but responds by kicking him down and then giggling. Undaunted, the dwarf gets back up, motions to the tall woman to bend down, and whispers in her ear. She giggles again and the two flirt. Film cuts to the same stage and backdrop, now with a hanging trapeze bar and two rings. Onto the stage walks the tall clown, now dressed in a sleeveless shirt and satiny, ruffled bloomers to mid-calf with tights. Following him is the dwarf, no longer in facepaint or wearing the fake pate. The clown mounts the bar and assumes a contortionist position that demonstrates his limberness by apparently folding his torso in half: anchored by his ankles, he sits up so that he looks at the camera with his head over the bar and his arms beneath it and through his legs. From that position, the clown lifts the dwarf off the ground with a rope which the small acrobat grasps in his teeth. As he hangs by his mouth, the dwarf sheds his tuxedo to reveal a satiny sleeveless shirt and pants to the knee with tights. The camera pans down to follow him as he releases the mouth grip and gestures to the camera. Cuts to a closeup of the dwarf, now shirtless, from the back as he contorts and perhaps dislocates his shoulders. He turns around and continues contorting and flexing his upper muscles. Cuts to the clown jumping on a table placed center stage. He lays on his back with his legs in the air, then brings his legs down behind him and to the side as he sits up with his upper torso. He returns to a normal sitting position facing the camera, and then assumes a variety of pretzel-like positions with his legs. Cuts to a similar shot of the stage with hanging rings but no table. With a boost from the clown, the dwarf hangs from the rings and performs a series of flips that force his apparently dislocated shoulders behind his torso. Again from the hanging position, he then rotates and dislocates his shoulders one by one, and repeats the actions several times. Cuts to the dwarf helped on to the hanging bar, from which he swings by the back of his neck only. Cuts to the clown mounting the bar, hanging by one arm as he wraps his legs around his middle torso, and rotating the arm so that his contorted body spins. The clown then hangs from the bar with both hands and wraps his legs around his body so that his feet are behind his head. In that position, he rotates his body through his legs and up and over his shoulders. The clown briefly sits on the dwarf's shoulders and spreads his arms in a gesture for the camera.
This Gal Gets Around - And Around
Miss Joan Merriam lands in California to complete a solo hop around the world in her six-year-old plane. It was a saga that Amelia Earhart attempted and was lost in the Pacific. Oakland, California Joan Merriam-Smith landing in Oakland, California at the Oakland California air port piloting her twin engine Piper Apache named the "City of Long Beach". MS - A nice size crowd gathered to welcome home the daring aviatrix. CUS - Joan Merriam Smith's twin engine Piper Apache, propellers spinning. MCUS - The press with camera's rolling. MCUS - Joan Merriam Smith standing at the door of her Apache waving to a cheering crowd. CUS - Joan surrounded by people entering an aviation building, some of her friends are at her side. MS - Inside the building Joan takes a seat at a long table. MS - She holds up a globe.
New Governor - MCKeitnan Takes Oath As Chief Executive
During Governor John Julian McKeithen's tenure as governor he proved to be the state of Louisiana foremost ambassador's for economic growth by working tirelessly throughout his term and selling Louisiana to business and industrial leaders. Silent- Footage of McKeithen swearing over Bible. Sound in @ 49.29. During speech, downpour begins. Crowds race into building.. Short but sweet speech. Baton Rouge, Louisiana Louisiana State Capitol Building located in Baton Rouge. OHS - The Capitol Building sits on 27-acres and it includes the capitol gardens in which throngs of political supporters gather to cheer in their new governor, John Julian McKeithen. MS - Parade, baton twirlers and marching band pass the newly elected governor. CUS - A state of the art microphone is placed around the governor's neck. He is sworn in as he raises his right arm and hand and places his left hand on a bible. Aerial shot - Throngs of political supporters. MS - The crowd holding up umbrellas and one man is holding a folding chair over his head. MS - The newly elected governor on the State Capitol's steps getting ready to address the crowd. Raining heavy. MS - Political aids holding a sheet of plastic over the governors head as he prepares to speak. Governor John Julian McKeithen, "My hopes, my aspirations, and my dreams are, after four years as your servant. I will be remembered for having made the lives of men and women, I serve, as governor, more meaningful and more fruitful. We have a moral duty to prosperity and inescapably to ourselves. Won't you help me?" (The rain is really coming down and you can hear it hit the plastic held over his head)
SUPERSONIC JET Toyko to London in 8 hours
SUPERSONIC JET RECORD FLIGHT MADE AVIATION JET / PLANE REFUILING B58 flies from Toyko to London US Air Force crew climbing into a supersonic jet. CUS - A map showing the jets flight path. MS - The supersonic jet lands in the United Kingdom in London. MCUS - Crew standing on the tarmac gettin congradulated for the longest supersonic flight that has ever been made.
Paz Estenssoro of Bolivia Vists President Kennedy
La Visita Del Presidente Paz Estenssoro De Bolivia Washington DC Paz Estenssoro of Bolivia Vists President Kennedy. Kennedy meets Estenssoro.
Watusis in Washington to Greet Their King
The staid State Department building in Washington is the scene where African King Mwambuta IV of Burundi accompanied by Secretary of State, Dean Rusk, attends a ceremonial dance by the Kings - Watusi Subjects. They are serenaded by his Royal Drummers. Their tribal dances have become famous throughout the world. The drummers are barefoot, but note the modern touch on the dancers, sneakers, usually the Watusi is performed on grass not cement, hence the shoes. Washington DC In front of the US State Department is "Expanding Universe Fountain" by Marshall W. Fredericks. Lots of people standing in front of building. MCUS - The King of Burundi, King Mwambutsa IV sitting next to Secretary of State, Dean Rusk. MS - Watusi Drummers passing the crowds carrying their drums on their heads. MCUS - The drummers are drumming with great passion, the head drummer jumps occasionally, the crowd is watching in the background. The Watusi Dancers are dancing in their tribal war-fare wear, and their spears have feathers attached to them. One dances in front of Dean Rusk and King Mwambutsa IV
Lest We Forget, Nation Pauses to Honor Heroes
As the nation pauses to pay tribute to its honored war dead, another hero is remembered. Mrs. Jacqueline Kennedy and her two children mark the 47th birthday of the martyred President. Three million have filed past the grave site in the six months since his death. Arlington National Cemetery, Arlington, Virginia Arlington National Cemetery and Jacqueline accompanied with her two children make their way to President Kennedy's grave. MS - President Kennidey's grave with the eternal flame and a few small American Flags. MS - Jacqueline Kennedy and her children walking away from the grave site.
Beach Beauties: New Swim Hats Hit High Fashion Note
In a setting of lush luxury in Venezuela the gals give us an insider's look at the swim caps that will crown beauty on the beach this summer. They are made of rows of petals and such gossamer stuff and they double as swim caps and beach bonnets. Venezuela, Hotel Tamanaco Girls at the pool model swimming caps. The model puts on a bewitching Capri swim cap resembling hand cut lace. Row upon row the model has a pedal cap with pointed ends. This model has a cap made by Platex, it resembles a fur winter cap. The model removes a cap liner from the poofy cap that would keep her hair dry, right, and just puts on the cap that becomes a beach hat. Sort of a neat and fresh idea for the 60's. The next model has a cap on her head that resembles hair, a shaggy hair cut. This next cap that is modeled is a take off from a flower garden, flowers and leaves on the bottom and sides, topped off with a large flat flower. Mountains and the camera pans down to the backs of the models with their heads adorned with these cool bathing caps.
United States Assumes Firm action in Vietnam
Gulf of Tonkin attack. Reinforcements moved into strategic locations at South Vietnam's Northern border. PT Boat 731, USS Maddox. OHS - The USS Maddox, there are two other military ships ahead of her. MLS - Aircraft carrier following behind the USS Maddox. MS - Fighter pilots climbing into their fighter jets. MS - President Johnson standing at the podium. Exterior of the United Nations Building. Adlai Stevensan in the United Nations. Air to Air - Helicopter coming in for a landing. This is the type that would transport the wounded from Vietnam. Convoy leader looking out the open hatch of a helicopter. Copter lands, soldiers hop out into a rice paddy. Soldiers walking knee deep in water in the rice paddy. MS - Reinforcements are being trucked out. MS - The Interceptor jet fighter taking off. MS - Interceptors coming in for a landing, some of the planes parked with their wings pulled up.
Speed Boat Race in England
Speed Boat Race in England Appears to be a speed boat race. Boats are really traveling are a good rate of speed. Different speed boats, carrying three members of each team. The team from USA. CUS - No # 66 Team from England. Judge looking through his binoculars. Sport spectators standing on a pier. The winners of the race - No # 66, United Kingdom
President Johnson is the Democratic Party Candidate
Use catalog # 429547 for a longer story President Johnson is the Democratic Party Candidate Camera panning the crowd. The applause and cheering is extremely loud. President Johnson smiling and waving to the party members. President Johnson and his family step up to the podium. President Johnson and Senator Humphrey smiling.
Eleanor Roosevelt Memorial Foundation
Eleanor Roosevelt Memorial Foundation Bob Hope, "This is Bob Hope, October 11th would have been the 80th birthday of Eleanor Roosevelt, and that's the day 175,000 mail men march. March right to your house to deliver a special appeal. Asking you to support the Eleanor Roosevelt Memorial Foundation. I'm honored to be the Chairman of the Mail Man's March in memory of Eleanor Roosevelt. She was one of the World's great ladies. She devoted her life to human rights, international peace, cancer research and underprivileged children. Now you can help us carry on her unfinished work in these fields. Return the envelope we have sent to you with a generous contribution, to the Eleanor Roosevelt Memorial Foundation, Box 7 - Hyde Park, New York. She would rather light a candle then curse the darkness and her glow has warmed the world. It's up to us to keep the candle burning. Give as much as you can."