Radio and Films
Ruth made many forays into various popular media. He was heard often on radio in the 1930s and 1940s, both as a guest and on his own programs with various titles: The Adventures of Babe Ruth was a 15-minute Blue Network show heard three times a week from April 16 to July 13, 1934. Three years later, he was on CBS twice a week in Here's Babe Ruth which was broadcast from April 14 to July 9, 1937. That same year he portrayed himself in "Alibi Ike" on Lux Radio Theater. His Baseball Quiz was first heard Saturdays on NBC June 5 to July 10, 1943 and then later that year from August 28 to November 20 on NBC, followed by another NBC run from July 8 to October 21, 1944.
His first film appearance unofficially occurred in 1920, when a newly formed company called Educational Pictures decided to take advantage of Ruth's growing popularity by creating a series of "educational films" based on Ruth. Ruth never committed to the project or compensated for the series, and decided to take Educational Pictures to court. However the judge cited with the company stating that Ruth was a "public figure", and anybody were allowed to film Ruth without requiring permission. The matter was dropped when the series did poorly at the box office. However the case convinced Ruth to sign a film contract as the star of the silent movie Headin' Home, also made in 1920. His film roles included a cameo appearance as himself in the Harold Lloyd film Speedy (1928). He made numerous other film appearances in the silent era, usually either playing himself or playing a ballplayer similar to himself. For his final film, an out of shape Ruth was contacted to appear as himself in the 1942 biopic about Lou Gehrig, Pride of the Yankees, in which he lost 40 pounds for the role.
Read more about this topic: The Great Bambino
Famous quotes containing the words radio and/or films:
“from above, thin squeaks of radio static,
The captured fume of space foams in our ears”
—Hart Crane (18991932)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)