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Williams appeared in Dirty Gertie from Harlem U.S.A. as a female fortune teller who predicts Gertie’s death. [6] Dirty Gertie from Harlem U.S.A. was the last starring role in a feature movie for Francine Everett, who was a star in race films, most notably Keep Punching (1939) and Big Timers (1945).
After starring in Dirty Gertie from Harlem U.S.A., she had bit parts in two Hollywood films: Lost Boundaries (1949) and Sidney Poitier's first film, No Way Out (1950). [3] At the height of her career, Everett was dubbed "the most beautiful woman in Harlem" by columnist Billy Rowe in The Amsterdam News, a black-owned newspaper in New York City. [4]
[citation needed] After leaving the Columbia shorts department, Cezon had a recurring role as Perry Mason's receptionist Gertrude "Gertie" Lade on Perry Mason between 1957 and 1964. [5] She also worked as Bette Davis' stand in/double, most notably in the 1964 thriller Dead Ringer .
He was cast in Jed Buell’s Black westerns between the years of 1938 and 1940. He played character roles in such black westerns as Harlem on the Prairie (1937), Two-Gun Man from Harlem (1938), The Bronze Buckaroo (1939), and Harlem Rides the Range (1939). Buell’s idea to hire Williams revolved around his ability to captivate the audience ...
Dirty Gertie from Harlem U.S.A. (1946). Unauthorized film version of "Miss Thompson" with an all-black cast, directed by Spencer Williams. The Razor's Edge (1946). featuring Tyrone Power and Gene Tierney. Based on the novel of the same name. [35] Of Human Bondage (1946), a version starring Eleanor Parker. [35]
1946 - as Dirty Gertie from Harlem U.S.A., starring Francine Everett and Don Wilson, adapted by True T. Thompson, directed by Spencer Williams; 1949 - a film noirish "Sadie Thompson" dance number from the Marx Brothers film Love Happy features Vera-Ellen dancing with a group of World War II Marines led by Paul Valentine
By evoking laughter through song, music, patter, gossip, cross-talk, conversation, malapropisms, puns and jokes, through humour, wit, irony, burlesque, parody, satire, ridicule and a gynocentric misanthropy (counterbalancing misogyny), they also invoke a condition of delight, in which men and women might laugh at themselves, at their subject ...
Cast as the main female lead in the 1935 film Murder in Harlem, Engle acted as a strong female character who actually solved the private eye's cases rather than the male lead. [1] The film's subject matter and original source events were criticized, however, along with Engle and the other actress's acting in the film, as if their lines were ...