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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 completing this film, she had bit roles in two Hollywood productions, Lost Boundaries (1949) and No Way Out (1950), before retiring from acting.
July Jones was an actor who had leading roles in several American ... Beale Street Mama (1946) Dirty Gertie from Harlem U.S.A. (1946) Juke Joint (1947) [3] The Girl ...
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]
Thanos (/ ˈ θ æ n ɒ s /) is a supervillain appearing in American comic books published by Marvel Comics. Created by writer-artist Jim Starlin, the character first appeared in The Invincible Iron Man #55 (cover date February 1973).
This is an accepted version of this page This is the latest accepted revision, reviewed on 15 January 2025. Film franchise actors list Robert Downey Jr. Chris Evans Chris Hemsworth Mark Ruffalo Scarlett Johansson Jeremy Renner Chris Pratt Paul Rudd Benedict Cumberbatch Tom Holland Chadwick Boseman Evangeline Lilly Brie Larson Josh Brolin Samuel L. Jackson Downey Jr., Evans, Hemsworth, Ruffalo ...
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Thanos is a fictional character portrayed primarily by Josh Brolin in the Marvel Cinematic Universe (MCU) media franchise, based on the Marvel Comics supervillain of the same name. He is depicted as an alien warlord from the doomed planet Titan with a universe-spanning agenda to wipe out half of all life to stabilize overpopulation and prevent ...
Critic Roger Ebert noted that "the film is being marketed as a violent action picture, and in a sense, it is" and that director Bill Duke having made "a historical drama as much as a thriller, and his characters reflect a time when Harlem seemed poised on the brink of better things, and the despair of the postwar years was not easily seen on ...