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December 20, 1922, Chicago, Illinois; d. He forged a relationship with Charlton Heston on the twilight western, Will Penny (1968), which led to Number One (1969) and The Hawaiians (1970). Gries’s features hadn’t the impact of his TV work, although Breakheart Pass (1975) is one of Charles Bronson’s best movies, and The Greatest (1977) was as well-executed as it could be in spite of its use of Muhammad Ali playing himself. Earth II was a nicely realized space-station soaper with Anthony Franciosa, Hari Rhodes, and Mariette Hartley aboard, while Call to Danger and Hunter were espionage pilots for, respectively, Peter Graves and James Franciscus. Hunter, not to be confused with the later Fred Dryer series, made the air as a series while Call to Danger and The Healers, a hospital-themed pilot for John Forsyth, did not. Gries’s five other projects—most of his longform TV output—were among the best television of their era. He was nominated for five Emmy Awards (one as a producer), including for an episode of East Side, West Side (1964), and two DGA Awards. The Glass House, derived by Tracy Keenan Wynn from a Truman Capote story, remains one of TV’s best prison dramas as it follows a novice guard (Clu Gulager) and a newly imprisoned college professor (Alan Alda) on a manslaughter conviction, who are both swallowed into a system represented by the Utah State Prison. Gries captures the jailhouse universe of sexual terror and thug politics and focuses on meticulous details and a memorable rogue’s gallery of inmates (Billy Dee Williams, Luke Askew, Scott Hylands, et al. kept in check by the brutal pecking order devised by the despicable ringleader, Hugo Slocum, rendered with masterstrokes of deep-marrow nastiness by Vic Morrow in perhaps his finest hours. The Connection was an action movie that bore the title stamp of its producer, Philip d’Antoni, responsible for backing William Friedkin’s The French Connection (1973), more than that of Gries.


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It certainly could have been a turning point in the country’s freedom movement. The bonhomie between Jinnah and the nationalist Jamiat leaders lasted several months before the relationship turned sour once again. The breakup came shortly after the election of 1937. It is a phase which has strangely enough drawn scant attention of historians. The factors which led to this parting of ways, as would unfold later, can be traced to the haughty utterances of some top Congress leaders after the landslide victory in the state elections, especially in the United Provinces. This added to the growing suspicion in the minds of the Muslim League leaders regarding the influence of the Hindu Mahasabha on the Congress leadership. To add to this was the failure of Jinnah to fulfil his commitments to the Jamiat leaders regarding the functioning of the Unity Board which had been established to formalise the joint strategy of the Muslim League and the Jamaat Ulema Hind. Maulana Madani has narrated the sequence of events thus: Mr. Jinnah talked to me for a few hours and impressed upon me his request for co-operation. He said that he was tired of conservative elements in the Muslim League and slowly and gradually wanted to kick them out and replace them with the freedom loving and progressive people, and so, we should join it. I asked him what would happen if he failed to kick them out.


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I don’t remember hearing those exact words, but I wouldn’t be surprised that he felt that way. You have to remember that Sid came out of the television side of the studio before he became the head of production. Jaws was very early in his tenure as production head, and I don’t know how many feature films he’d actually seen being made. He was certainly familiar with the process, but he was an attorney. He wasn’t a guy who’d come up like Dick Zanuck, working as a laborer, a grip, and a props guy before ascending through the ranks because his father was the head of the studio. GOTTLIEB: Not as much as you might think, and not all the rushes were delayed that long. So in the dailies, we’d see some work from the previous day and some from a day earlier. But we’d planned for everything over our long shooting schedule, and it caused very few revision problems. Bruce, the mechanical shark, apparently named for Spielberg’s lawyer Bruce Ramen, was actually three twenty-four-foot-long mechanical sharks designed by Bob Mattey. In the Atlantic Ocean, they malfunctioned in every kind of conceivable way—sinking, exploding, corroding, etc. but some people feel that Spielberg’s inability to shoot the shark actually enhanced the film because it forced him to keep the predator hidden from the audience even longer than he’d intended.