id
stringlengths 24
24
| title
stringclasses 442
values | context
stringlengths 151
3.71k
| question
stringlengths 12
270
| answers
dict |
|---|---|---|---|---|
5ad13864645df0001a2d122d
|
Universal_Studios
|
In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money.
|
When did Carl Laemmle decide to establish a clean picture policy?
|
{
"answer_start": [],
"text": []
}
|
5ad13864645df0001a2d122e
|
Universal_Studios
|
In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money.
|
What did Carl Laemmle consider a mistake in 1972?
|
{
"answer_start": [],
"text": []
}
|
56e14b3bcd28a01900c6775b
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
Along with Walt Disney, who created Oswald the Lucky Rabbit?
|
{
"answer_start": [
96
],
"text": [
"Ub Iwerks"
]
}
|
56e14b3bcd28a01900c6775c
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
Who owned the rights to Oswald?
|
{
"answer_start": [
0
],
"text": [
"Universal"
]
}
|
56e14b3bcd28a01900c6775d
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
Who produced an Oswald the Lucky Rabbit motion picture?
|
{
"answer_start": [
189
],
"text": [
"Charles Mintz"
]
}
|
56e14b3bcd28a01900c6775e
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
What character did Walt Disney create in 1928?
|
{
"answer_start": [
383
],
"text": [
"Mickey Mouse"
]
}
|
56e14b3bcd28a01900c6775f
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
What was the first animated short with synchronized sound?
|
{
"answer_start": [
457
],
"text": [
"Steamboat Willie"
]
}
|
5ad139b1645df0001a2d1288
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
Who owned the rights to Oswald the Rabbit?
|
{
"answer_start": [],
"text": []
}
|
5ad139b1645df0001a2d1289
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
Who created Oswald with Ib Uwerks?
|
{
"answer_start": [],
"text": []
}
|
5ad139b1645df0001a2d128a
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
Who was created in 1829 by Disney and Iwerks?
|
{
"answer_start": [],
"text": []
}
|
5ad139b1645df0001a2d128b
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
What was the first 1982 animated short?
|
{
"answer_start": [],
"text": []
}
|
5ad139b1645df0001a2d128c
|
Universal_Studios
|
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
|
What was Walt Disney a minor player in?
|
{
"answer_start": [],
"text": []
}
|
56e14bdacd28a01900c67765
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
Who bought the Oswald the Lucky Rabbit cartoons in 2006?
|
{
"answer_start": [
60
],
"text": [
"Disney"
]
}
|
56e14bdacd28a01900c67766
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
Who was 2006 seller of the Oswald cartoons?
|
{
"answer_start": [
32
],
"text": [
"NBC Universal"
]
}
|
56e14bdacd28a01900c67767
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
What notable figure worked as a sportscaster for ABC?
|
{
"answer_start": [
201
],
"text": [
"Al Michaels"
]
}
|
56e14bdacd28a01900c67768
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
Who began producing Oswald cartoons for Universal in 1929?
|
{
"answer_start": [
370
],
"text": [
"Walter Lantz"
]
}
|
56e14bdacd28a01900c67769
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
In what year did Walter Lantz cease producing Oswald cartoons for Universal?
|
{
"answer_start": [
396
],
"text": [
"1943"
]
}
|
5ad13ae0645df0001a2d12e6
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
What did NBC Universal sell in 2008?
|
{
"answer_start": [],
"text": []
}
|
5ad13ae0645df0001a2d12e7
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
What did NBC Universal do after 60 years?
|
{
"answer_start": [],
"text": []
}
|
5ad13ae0645df0001a2d12e8
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
What NBC sportscaster did Disney release from contract?
|
{
"answer_start": [],
"text": []
}
|
5ad13ae0645df0001a2d12e9
|
Universal_Studios
|
In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
|
What did Universal retain ownership of from 1923 to 1949?
|
{
"answer_start": [],
"text": []
}
|
56e14c5fcd28a01900c6776f
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
How many of Carl Laemmle, Sr.'s relatives were working for Universal as of 1928?
|
{
"answer_start": [
162
],
"text": [
"70"
]
}
|
56e14c5fcd28a01900c67770
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
What was Carl Laemmle, Sr.'s nickname at Universal?
|
{
"answer_start": [
307
],
"text": [
"Uncle Carl"
]
}
|
56e14c5fcd28a01900c67771
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
What poet wrote a notable rhyme about Laemmle?
|
{
"answer_start": [
320
],
"text": [
"Ogden Nash"
]
}
|
56e14c5fcd28a01900c67772
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
At what age did Carl Laemmle, Jr. become president of Universal?
|
{
"answer_start": [
78
],
"text": [
"21"
]
}
|
56e14c5fcd28a01900c67773
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
What Academy Award-winning director was a relative of Carl Laemmle's?
|
{
"answer_start": [
478
],
"text": [
"William Wyler"
]
}
|
5ad13bc6645df0001a2d130a
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
Who become head of Universal Pictures in 1921?
|
{
"answer_start": [],
"text": []
}
|
5ad13bc6645df0001a2d130b
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
How many relatives of Laemmle Sr. were on the payroll in 1928?
|
{
"answer_start": [],
"text": []
}
|
5ad13bc6645df0001a2d130c
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
What did Nash Ogden say about Uncle Carl?
|
{
"answer_start": [],
"text": []
}
|
5ad13bc6645df0001a2d130d
|
Universal_Studios
|
In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler.
|
Who was Wyler William related to?
|
{
"answer_start": [],
"text": []
}
|
56e14e56cd28a01900c67783
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What was Carl Laemmle Jr.'s nickname?
|
{
"answer_start": [
1
],
"text": [
"Junior"
]
}
|
56e14e56cd28a01900c67784
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What movie was based on an Edna Ferber novel?
|
{
"answer_start": [
287
],
"text": [
"Show Boat"
]
}
|
56e14e56cd28a01900c67785
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
In what year was the musical Broadway produced?
|
{
"answer_start": [
298
],
"text": [
"1929"
]
}
|
56e14e56cd28a01900c67786
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What movie won the 1930 Academy Award for Best Picture?
|
{
"answer_start": [
473
],
"text": [
"All Quiet on the Western Front"
]
}
|
56e14e56cd28a01900c67787
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What all-color musical did Universal make in 1930?
|
{
"answer_start": [
435
],
"text": [
"King of Jazz"
]
}
|
5ad13d69645df0001a2d1350
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What 1930 film based on Edna Farber's novel did Universal produce?
|
{
"answer_start": [],
"text": []
}
|
5ad13d69645df0001a2d1351
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What 1930 musical did Universal produce?
|
{
"answer_start": [],
"text": []
}
|
5ad13d69645df0001a2d1352
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What 1929 all-color musical feature did Universal produce?
|
{
"answer_start": [],
"text": []
}
|
5ad13d69645df0001a2d1353
|
Universal_Studios
|
"Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar.
|
What 1929 film won its year's Best Piture Oscar?
|
{
"answer_start": [],
"text": []
}
|
56e14edfe3433e1400422d88
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
In what year did Universal make a film version of Dracula?
|
{
"answer_start": [
180
],
"text": [
"1931"
]
}
|
56e14edfe3433e1400422d89
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
In what year was The Invisible Man made?
|
{
"answer_start": [
252
],
"text": [
"1933"
]
}
|
56e14edfe3433e1400422d8a
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
What film was produced by Laemmle in 1934?
|
{
"answer_start": [
308
],
"text": [
"Imitation of Life"
]
}
|
56e14edfe3433e1400422d8b
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
In what year did My Man Godfrey premiere?
|
{
"answer_start": [
353
],
"text": [
"1936"
]
}
|
56e14edfe3433e1400422d8c
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
When was Universal's version of Frankenstein made?
|
{
"answer_start": [
180
],
"text": [
"1931"
]
}
|
5ad13e47645df0001a2d137a
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
What began in the 1940s?
|
{
"answer_start": [],
"text": []
}
|
5ad13e47645df0001a2d137b
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
What year was The Man Godfrey made?
|
{
"answer_start": [],
"text": []
}
|
5ad13e47645df0001a2d137c
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
What year was My Invisible Man made?
|
{
"answer_start": [],
"text": []
}
|
5ad13e47645df0001a2d137d
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
What year was The Dracula made?
|
{
"answer_start": [],
"text": []
}
|
5ad13e47645df0001a2d137e
|
Universal_Studios
|
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936).
|
What year was Mummy made?
|
{
"answer_start": [],
"text": []
}
|
56e1506ee3433e1400422da6
|
Universal_Studios
|
Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations.
|
What part of Universal's business was terminated while it was in bankruptcy?
|
{
"answer_start": [
261
],
"text": [
"The theater chain"
]
}
|
56e1506ee3433e1400422da7
|
Universal_Studios
|
Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations.
|
Along with distribution and studio operations, what part of Universal was retained by Carl Laemmle, Jr. during bankruptcy?
|
{
"answer_start": [
345
],
"text": [
"production operations"
]
}
|
5ad13f71645df0001a2d13aa
|
Universal_Studios
|
Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations.
|
What type of chain conglomerate was scrapped?
|
{
"answer_start": [],
"text": []
}
|
5ad13f71645df0001a2d13ab
|
Universal_Studios
|
Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations.
|
What did Carl Jr hold fast in addition to the theater chain?
|
{
"answer_start": [],
"text": []
}
|
5ad13f71645df0001a2d13ac
|
Universal_Studios
|
Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations.
|
What period did Universal move into high-quality production in?
|
{
"answer_start": [],
"text": []
}
|
56e150d1cd28a01900c677ab
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
In what year was Universal's ill-fated film version of Show Boat released?
|
{
"answer_start": [
66
],
"text": [
"1936"
]
}
|
56e150d1cd28a01900c677ac
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
In what year had Universal previously made a version of Show Boat?
|
{
"answer_start": [
97
],
"text": [
"1929"
]
}
|
56e150d1cd28a01900c677ad
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
What was the amount of the production loan Universal sought to complete Show Boat?
|
{
"answer_start": [
570
],
"text": [
"$750,000"
]
}
|
56e150d1cd28a01900c677ae
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
Who granted Universal the production loan?
|
{
"answer_start": [
600
],
"text": [
"the Standard Capital Corporation"
]
}
|
56e150d1cd28a01900c677af
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
When did the Standard Capital Corporation take control of Universal?
|
{
"answer_start": [
971
],
"text": [
"April 2, 1936"
]
}
|
5ad140ec645df0001a2d13dc
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
Who was forced to seek a $300,000 loan?
|
{
"answer_start": [],
"text": []
}
|
5ad140ec645df0001a2d13dd
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
What production went $750,000 over budget?
|
{
"answer_start": [],
"text": []
}
|
5ad140ec645df0001a2d13de
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
What did Standard Corporation Capital issue Universal?
|
{
"answer_start": [],
"text": []
}
|
5ad140ec645df0001a2d13df
|
Universal_Studios
|
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936.
|
What happened on April 2, 1935?
|
{
"answer_start": [],
"text": []
}
|
56e15143cd28a01900c677b5
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
Who became president of Universal after the Standard Capital takeover?
|
{
"answer_start": [
469
],
"text": [
"J. Cheever Cowdin"
]
}
|
56e15143cd28a01900c677b6
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
What notable female star left Universal after the Standard Capital takeover?
|
{
"answer_start": [
745
],
"text": [
"Margaret Sullavan"
]
}
|
56e15143cd28a01900c677b7
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
Who was Universal's chairman of the board of directors after the Standard Captial takeover?
|
{
"answer_start": [
469
],
"text": [
"J. Cheever Cowdin"
]
}
|
56e15143cd28a01900c677b8
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
Along with Margaret Sullavan, what notable film talent left Universal after the Standard Capital takeover?
|
{
"answer_start": [
727
],
"text": [
"William Wyler"
]
}
|
56e15143cd28a01900c677b9
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
In what year was Show Boat released?
|
{
"answer_start": [
12
],
"text": [
"1936"
]
}
|
5ad14301645df0001a2d143e
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
Who was ceremoniously removed from the company?
|
{
"answer_start": [],
"text": []
}
|
5ad14301645df0001a2d143f
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
What position did J. Cowdin Cheever hold?
|
{
"answer_start": [],
"text": []
}
|
5ad14301645df0001a2d1440
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
What position on the board did J. Cowdin Cheever take over?
|
{
"answer_start": [],
"text": []
}
|
5ad14301645df0001a2d1441
|
Universal_Studios
|
Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left.
|
What did William Sullavan and Margaret Wyler do?
|
{
"answer_start": [],
"text": []
}
|
56e1531ccd28a01900c677d1
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
Who produced the film Three Smart Girls?
|
{
"answer_start": [
20
],
"text": [
"Joe Pasternak"
]
}
|
56e1531ccd28a01900c677d2
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
Who starred in the film Three Smart Girls?
|
{
"answer_start": [
189
],
"text": [
"Deanna Durbin"
]
}
|
56e1531ccd28a01900c677d3
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
In what year was Three Smart Girls made?
|
{
"answer_start": [
266
],
"text": [
"1936"
]
}
|
56e1531ccd28a01900c677d4
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
Prior to his work in America, where was Joe Pasternak employed?
|
{
"answer_start": [
110
],
"text": [
"Universal's German subsidiary"
]
}
|
56e1531ccd28a01900c677d5
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
What type of films did Joe Pasternak produce in Germany?
|
{
"answer_start": [
71
],
"text": [
"light musicals"
]
}
|
5ad14404645df0001a2d1482
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
What film was released in 1963?
|
{
"answer_start": [],
"text": []
}
|
5ad14404645df0001a2d1483
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
Who produced the 1963 film Three Smart Girls?
|
{
"answer_start": [],
"text": []
}
|
5ad14404645df0001a2d1484
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
What did Deanna Pasternak star in?
|
{
"answer_start": [],
"text": []
}
|
5ad14404645df0001a2d1485
|
Universal_Studios
|
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures.
|
What did the 1963 film to for the studio?
|
{
"answer_start": [],
"text": []
}
|
56e15399cd28a01900c677db
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
How old was Gloria Jean in 1939?
|
{
"answer_start": [
138
],
"text": [
"13"
]
}
|
56e15399cd28a01900c677dc
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
Along with Donald O'Connor and Bing Crosby, with whom did Gloria Jean star?
|
{
"answer_start": [
239
],
"text": [
"Bing Crosby"
]
}
|
56e15399cd28a01900c677dd
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
Who played Destry in Destry Rides Again?
|
{
"answer_start": [
370
],
"text": [
"James Stewart"
]
}
|
56e15399cd28a01900c677de
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
Prior to working at Universal, what studio employed Marlene Dietrich?
|
{
"answer_start": [
450
],
"text": [
"Paramount Studios"
]
}
|
56e15399cd28a01900c677df
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
In what year was Destry Rides again produced?
|
{
"answer_start": [
208
],
"text": [
"1939"
]
}
|
5ad144d6645df0001a2d149c
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
What year did the studio sign Gloria Durbin?
|
{
"answer_start": [],
"text": []
}
|
5ad144d6645df0001a2d149d
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
What did Gloria Durbin star in?
|
{
"answer_start": [],
"text": []
}
|
5ad144d6645df0001a2d149e
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
Who did Gloria Durbin star with?
|
{
"answer_start": [],
"text": []
}
|
5ad144d6645df0001a2d149f
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
What 1930 film starred James Stewart?
|
{
"answer_start": [],
"text": []
}
|
5ad144d6645df0001a2d14a0
|
Universal_Studios
|
When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
|
What woman starred in the 1930 film Destry Rides Again?
|
{
"answer_start": [],
"text": []
}
|
56e156e7cd28a01900c677ef
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
During what period were the Little Tough Guys films produced?
|
{
"answer_start": [
326
],
"text": [
"1938–43"
]
}
|
56e156e7cd28a01900c677f0
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
Over what span were the Baby Sandy films made?
|
{
"answer_start": [
379
],
"text": [
"1938–41"
]
}
|
56e156e7cd28a01900c677f1
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
In what period did Universal produce Hugh Herbert comedies?
|
{
"answer_start": [
417
],
"text": [
"1938–42"
]
}
|
56e156e7cd28a01900c677f2
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
When did Universal make Tom Mix westerns?
|
{
"answer_start": [
578
],
"text": [
"1932–33"
]
}
|
56e156e7cd28a01900c677f3
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
In what span did Universal produce westerns with Kirby Grant?
|
{
"answer_start": [
700
],
"text": [
"1946–47"
]
}
|
5ad145ef645df0001a2d14d6
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
When did The Dead End Guys run?
|
{
"answer_start": [],
"text": []
}
|
5ad145ef645df0001a2d14d7
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
When did Little Touch Kids run?
|
{
"answer_start": [],
"text": []
}
|
5ad145ef645df0001a2d14d8
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
When did comedies with Sandy Herbert run?
|
{
"answer_start": [],
"text": []
}
|
5ad145ef645df0001a2d14d9
|
Universal_Studios
|
By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47).
|
Who preformed in the 1932-33 musicals?
|
{
"answer_start": [],
"text": []
}
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.