Cimarron (1931 film)

Cimarron is a 1931 Pre-Code Western film directed by Wesley Ruggles, starring Richard Dix and Irene Dunne, and featuring Estelle Taylor and Roscoe Ates. The Oscar winning script was written by Howard Estabrook based on the Edna Ferber novel Cimarron. It would be RKO's most expensive production up to that date, and its winning of the top Oscar for Best Production would be only one of two ever won by that studio. It is also one of the few Westerns to ever win the top honor at the Academy Awards. Epic in scope, spanning forty years from 1889 to 1929, it was a critical success, although it did not recoup its production costs during its initial run in 1931. The 1960 version Cimarron reduced the role of stereotyped black characters and has Native American actors playing the "Indians," including Eddie and Dawn Little Sky.

Plot

The Oklahoma land rush of 1889 prompts thousands to travel to the Oklahoma Territory to grab free government land; Yancey Cravat (Richard Dix), his young bride, Sabra (Irene Dunne) and their son, Cim, join the throngs. In the ensuing race, Yancey is outwitted by a young prostitute, Dixie Lee (Estelle Taylor), who takes the prime piece of real estate, the Bear Creek claim, which Yancey had targeted for himself.

1931 in film

The following is an overview of 1931 in film, including significant events, a list of films released and notable births and deaths.

Top grossing films

Academy Awards

Note: Prior to 1933, awards were not based on calendar years. And there were two awards given in 1932 for 'Best Actor'. That's how there are 3 'Best Actor', 2 'Best Actress' awards for 1931 films.

1931 film releases

January–March

Cimarron River

Cimarron River may refer to:

Film (Iranian magazine)

Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.

References

External links

Film (film)

Film is a 1965 film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a forty-leaf shooting script followed thereafter. It was filmed in New York in July 1964.

Beckett’s original choice for the lead – referred to only as “O” – was Charlie Chaplin, but his script never reached him. Both Beckett and the director Alan Schneider were interested in Zero Mostel and Jack MacGowran. However, the former was unavailable and the latter, who accepted at first, became unavailable due to his role in a "Hollywood epic." Beckett then suggested Buster Keaton. Schneider promptly flew to Los Angeles and persuaded Keaton to accept the role along with "a handsome fee for less than three weeks' work."James Karen, who was to have a small part in the film, also encouraged Schneider to contact Keaton.

The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States. The script printed in Collected Shorter Plays of Samuel Beckett (Faber and Faber, 1984) states:

Lubrication theory

In fluid dynamics, lubrication theory describes the flow of fluids (liquids or gases) in a geometry in which one dimension is significantly smaller than the others. An example is the flow above air hockey tables, where the thickness of the air layer beneath the puck is much smaller than the dimensions of the puck itself.

Internal flows are those where the fluid is fully bounded. Internal flow lubrication theory has many industrial applications because of its role in the design of fluid bearings. Here a key goal of lubrication theory is to determine the pressure distribution in the fluid volume, and hence the forces on the bearing components. The working fluid in this case is often termed a lubricant.

Free film lubrication theory is concerned with the case in which one of the surfaces containing the fluid is a free surface. In that case the position of the free surface is itself unknown, and one goal of lubrication theory is then to determine this. Surface tension may then be significant, or even dominant. Issues of wetting and dewetting then arise. For very thin films (thickness less than one micrometre), additional intermolecular forces, such as Van der Waals forces or disjoining forces, may become significant.