One Hundred Men and a Girl (1937) | |
| Director(s) | Henry Koster |
| Producer(s) | Joe Pasternak (associate), Charles R. Rogers (executive) |
| Top Genres | Comedy, Musical |
| Top Topics | Musicians |
Featured Cast:
One Hundred Men and a Girl Overview:
One Hundred Men and a Girl (1937) was a Comedy - Musical Film directed by Henry Koster and produced by Joe Pasternak and Charles R. Rogers.
Academy Awards 1937 --- Ceremony Number 10 (source: AMPAS)
| Award | Recipient | Result |
| Best Film Editing | Bernard W. Burton | Nominated |
| Best Music - Scoring | Universal Studio Music Department, Charles Previn, head of department (no composer credit) | Won |
| Best Picture | Universal | Nominated |
| Best Writing | Hans Kraly | Nominated |
BlogHub Articles:
One Hundred Men and a Girl
By Alyson on Jun 16, 2010 From The Best Picture ProjectFirst off, I need to thank a very helpful person on Twitter for an obvious lead for many films that are not available on Netflix. ?Much gratitude and more. I don’t know how normal it is for someone of my generation to grow up knowing who Leopold Stokowski was or to be familiar with his music, ... Read full article
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Quotes from
Tommy Bitters:
[Having just had Frost light a cigarette for him only to have it explode in his mouth] When are you going to stop playing these cheap childish tricks on me?
John R. Frost: The day you stop playing them on me.
Tommy Bitters: Well, at least mine are funny, and new!
John R. Frost: Oh, yeah? Well, mine work.
read more quotes from One Hundred Men and a Girl...
John R. Frost: The day you stop playing them on me.
Tommy Bitters: Well, at least mine are funny, and new!
John R. Frost: Oh, yeah? Well, mine work.
read more quotes from One Hundred Men and a Girl...
Facts about
On July 23, 1949, this film, double-billed with The Mikado, was revived at the Little Carnegie Theatre in Manhattan. On August 31, 1949, Universal (by then called Universal International) concluded its 13-year association with Deanna Durbin, who hadn't a new feature in release for 1949.
Leopold Stokowski recorded the classical music in the film at the Philadelphia Academy of Music, using the Philadelphia Orchestra (of which he was still principal guest conductor), on a multi-channel sound system, the first time one was ever used to record music in a film. The musicians seen in the film, however, were L.A.-based players doing what was called "sideline" (seen but not heard, merely miming to a prerecorded soundtrack played by others).
Deanna Durbin's vocal coach was Andrés de Segurola, a former Metropolitan Opera bass who had sung with Enrico Caruso.
read more facts about One Hundred Men and a Girl...
Leopold Stokowski recorded the classical music in the film at the Philadelphia Academy of Music, using the Philadelphia Orchestra (of which he was still principal guest conductor), on a multi-channel sound system, the first time one was ever used to record music in a film. The musicians seen in the film, however, were L.A.-based players doing what was called "sideline" (seen but not heard, merely miming to a prerecorded soundtrack played by others).
Deanna Durbin's vocal coach was Andrés de Segurola, a former Metropolitan Opera bass who had sung with Enrico Caruso.
read more facts about One Hundred Men and a Girl...
