"Agnes Moorehead’s dramatic reading of the events at Calvary, as told by Mary Magdalene - from "Easter with Oral Roberts", videotaped at NBC Burbank, CA 1/24/70",  [X]

04-19 / 21:09 / 6 notes / reblog
04-13 / 17:33 / 1 note / reblog
04-13 / 17:12 / 1 note / reblog


The Magnificent Ambersons (1942)

"Welles had adapted The Magnificent Ambersons as a radio play two years before (assigning himself the role of Georgie), and not even Kane made more effective use of dramatic sound. Again, and with greater subtlety, there are Welles’s trademark overlapping dialogue and his construction of aural ‘deep space,’ a brooding Bernard Herrmann score, and the clever deployment of a naturalistic Greek chorus. Most remarkable, however, is the voice. The Magnificent Ambersons is the lone Welles feature in which the maestro does not grace the screen. Still, he is overwhelmingly present in the insinuating invisibility of his tender, omniscient narration. The movie is haunted by Welles’s voice, by his youth, and by a sense of a lost America that he would never again visit—and mainly by its own lost possibilities. It might be unfolding in his mind’s eye—or inside the snow globe Kane dropped.”

J. Hoberman

"Orson Welles’s second feature is in many ways his most personal and most impressive, but of his Hollywood films it’s also the one most damaged by insensitive reediting; in his absence RKO cut the movie by almost 45 minutes and tacked on a few lamentable new scenes (including the last one). For the most part, this is a very close adaptation of Booth Tarkington’s underrated novel about the relentless decline of a wealthy midwestern family through the rise of industrialization, though Welles makes the story even more powerful through his extraordinary mise en scene and some of the finest acting to be found in American movies (Agnes Moorehead is a standout). The emotional sense of America in the late 19th and early 20th centuries is so palpable you can taste it.”

Jonathan Rosenbaum

"Johnny Come Lately" Screen Guild Theater, 1948

03-28 / 18:03 / 5 notes / reblog


**I’ve corrected a photo.

The first two photos are in St. Louis.  The first, one of her homes in St. Louis sometime in the years between 1912-1919 (there were possibly other addresses—I think I’ve read as much but I haven’t checked that for myself).  Also, the Carondelet-Markham Memorial Presbyterian Church.

The third photo is the house in Dayton that Agnes’ parents lived in at the time of Peggy’s passing (late 1920’s).  The church photographed was, at the time Rev. Moorehead officiated there, known as Patterson Memorial Presbyterian Church but evolved and merged to become South Park United Methodist.

The last set of photos are from Reedsburg.  Agnes’ father was the pastor at the church in WI from 1919-1924 (according to the Tranberg book).  Also, her Mollie’s home in Reedsburg.


Love the laugh lines, freckles etc. They make her all the more beautiful. IMHO-

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