Doris Walker (Maureen O'Hara), an executive at Macy's department store, believes in taking a common-sense approach to life and is consequently raising her daughter Susan (Natalie Wood) not to believe in Santa Claus. This year however, the convictions of both mother and child are challenged when the kindly old man (Edmund Gwenn) hired as the store Santa insists that he is in fact the real thing. No one believes him, some even think he's insane, but he is willing to go to court to prove his case. Oscars were won by Edmund Gwenn (Best Supporting Actor) and George Seaton (Best Screenplay) and the film was remade in 1994 with Richard Attenborough in the lead.

In an acting career of more than seventy years, Hollywood legend Maureen O'Hara came to be known as "the queen of Technicolor" for her fiery red hair and piercing green eyes. She had a reputation as a fiercely independent thinker and champion of causes, particularly those of her beloved homeland, Ireland. In "'Tis Herself, " O'Hara recounts her extraordinary life and proves to be just as strong, sharp, and captivating as any character she played on-screen.
O'Hara was brought to Hollywood as a teenager in 1939 by the great Charles Laughton, to whom she was under contract, to costar with him in the classic film The Hunchback of Notre Dame. She has appeared in many other classics, including "How Green Was My Valley, Rio Grande, The Quiet Man, " and "Miracle on 34th Street." She recalls intimate memories of working with the actors and directors of Hollywood's Golden Age, including Laughton, Alfred Hitchcock, Tyrone Power, James Stewart, Henry Fonda, and John Candy. With characteristic frankness, she describes her tense relationship with the mercurial director John Ford, with whom she made five films, and her close lifelong friendship with her frequent costar John Wayne. Successful in her career, O'Hara was less lucky in love until she met aviation pioneer Brigadier General Charles F. Blair, the great love of her life, who died in a mysterious plane crash ten years after their marriage.
Candid and revealing, "'Tis Herself" is an autobiography as witty and spirited as its author.

In 2001, Goldman Sachs structured a financial contract to allow the Greek government to appear to have less debt than it actually did. Years later, when the Eurozone crisis erupted, Goldman's actions were seen to be technically legal but the inevitable question of whether they were ethically wrong arose. In Something for Nothing, Maureen O'Hara examines the murky moral universe of modern finance and its foundational technique: arbitrage. Examining key cases, including the Lehman Brothers' collapse, O'Hara reveals the ways arbitrage can transgress ethical lines. In its assessment of the mechanics of markets today and its call for more transparent and sound financial practices, Something for Nothing powerfully engages with the moral decision-making inherent in the financial system.

Born Joan Boniface Winnifrith on January 2, 1913, Anna Lee is best known for her portrayal of General Hospital's Lila Quartermaine, a character she brought to life for over two decades. From her early years in England to her final days in Hollywood, she recounts details of her extraordinary life in her memoir. Expressed in her energetic style, Anna Lee tells of her childhood as the daughter of an English clergyman and her early determination to become an actress. She writes of her teenage struggles to realize her dream, two failed marriages, and the difficulties she faced raising a family while maintaining her career. Finally, we see the picture of a mature Anna Lee?a successful actress playing a role she loved while enjoying an ideal marriage to writer Robert Nathan. Personal remembrances from her family and General Hospital co-stars round out this touching, entertaining self-portrait of the actress? life. A complete filmography and list of television appearances is also included.

In his 1980 essay, The World of Tomorrow and the Person of Tomorrow, the psychologist Carl Rogers contemplated the future. He described those who would usher in this new era as people with the capacity to understand, bring about and absorb a paradigm shift. He added: "I have an uneasy feeling about this chapter... It is a beginning, an outline, a suggestion... I believe that what I am saying here will some day be fleshed out much more fully, either by me or someone else." Maureen O'Hara and Graham Leicester are uniquely qualified to flesh out Carl Rogers's vision (Maureen worked closely with Rogers for many years). Here they explore the competencies - the ways of being, doing, knowing and organising - that can help us navigate in complex and powerful times. They argue that these competencies are innate and within reach of all of us - given the right setting, plenty of practice and some gentle guidance. But they are seldom seen because they are routinely undervalued in today's culture. That must change, the authors insist, and this book is intended to begin that change. The book is based on the authors' extensive research and their practical experience observing the qualities demonstrated by some of today's most successful cultural, political and business leaders. They write of `persons of tomorrow' that they have witnessed: "We find that people who are thriving in the contemporary world, who give us the sense of having it all together and being able to act effectively and with good spirit in challenging circumstances, have some identifiable characteristics in common... They are the people already among us who inhabit the complex and messy problems of the 21st century in a more expansive way than their colleagues. They do not reduce such problems to the scale of the tools available to them, or hide behind those tools when they know they are partial and inadequate. They are less concerned with `doing the right thing' according to standard procedure than they are with really doing the right thing in the moment, in specific cases, with the individuals involved at the time. In a disciplined yet engaging way they are always pushing boundaries, including their own. They dance at the edge." Theodore Hesburgh, President Emeritus of Notre Dame University, once said that leadership demands certainty: "You cannot blow an uncertain trumpet." On the contrary, argue Leicester and O'Hara, we must all learn to play the uncertain trumpet like virtuosos. It is an image that conveys the subtle discipline required of the `person of tomorrow' - an artistry that, they argue, is essential to restore hope in the future.

John Wayne stars in this classic romantic drama directed by John Ford. The story follows Irish-American boxer Sean Thornton (Wayne) who refuses to fight again after a traumatic bout. He returns to Ireland to reclaim his family's farm in Inisfree. But when love intervenes he is forced to fight again to win the heart and hand of local girl Mary Kate Danaher (Maureen O'Hara) whose brother Red (Victor McLaglen) wants the farm for himself and objects to the pair's union.

Doris Walker (Maureen O'Hara), an executive at Macy's department store, believes in taking a common-sense approach to life and is consequently raising her daughter Susan (Natalie Wood) not to believe in Santa Claus. This year however, the convictions of both mother and child are challenged when the kindly old man (Edmund Gwenn) hired as the store Santa insists that he is in fact the real thing. No one believes him, some even think he's insane, but he is willing to go to court to prove his case. Oscars were won by Edmund Gwenn (Best Supporting Actor) and George Seaton (Best Screenplay) and the film was remade in 1994 with Richard Attenborough in the lead.

In normal times we go about our lives oblivious to the structures, institutions, processes, and shared values that shape our behaviours. In powerful times like ours, deep structures of love, power, and justice are brought to light. International Futures Forum has been tracking three emergencies: a real emergency (the challenges we face in the world), a conceptual emergency (making sense of the world to take on those challenges), and an existential emergency (how all of this leaves us feeling). It is the existential emergency, the human consequences of living in powerful times, that dominates the scene. Together we need to support individuals, groups, organisations, communities, institutions, human beings in all formations to expand, to develop, and to grow, to rise to the occasion. This booklet proposes 3 steps: Section 1 explores the context of our times and how we can read the landscape more effectively, coming to feel more at home in it. Second 2 focuses on transformative growth, both what we need to develop in ourselves and how we can do so. Section 3 moves to transformative action that will shift our systems and patterns of activity towards our aspirations for the future.

Director John Ford's classic tale of a childhood spent in a turn-of-the-century Welsh mining village. Focusing on one family and their six sons, the action is seen through the eyes of young Huw (Roddy McDowall), and charts the everyday struggles of the local community. Nominated in the same year as 'Citizen Kane', 'The Maltese Falcon', 'The Little Foxes' and 'Suspicion', 'How Green Was My Valley' won the Oscar for Best Picture and also earned Ford the award for Best Director.

Doris Walker (Maureen O'Hara), an executive at Macy's department store, believes in taking a common-sense approach to life and is consequently raising her daughter Susan (Natalie Wood) not to believe in Santa Claus. This year however, the convictions of both mother and child are challenged when the kindly old man (Edmund Gwenn) hired as the store Santa insists that he is in fact the real thing. No one believes him, some even think he's insane, but he is willing to go to court to prove his case. Oscars were won by Edmund Gwenn (Best Supporting Actor) and George Seaton (Best Screenplay) and the film was remade in 1994 with Richard Attenborough in the lead.

Alfred Hitchcock directed this adaptation of the Daphne du Maurier novel - his last British film - before leaving for Hollywood and a contract with David O. Selznick. Young orphan Mary (Maureen O'Hara) arrives in 18th century Cornwall to live with her Uncle Joss (Leslie Banks), the landlord of Jamaica Inn. After finding work as a barmaid, Mary discovers that Joss commands a band of pirates who smuggle contraband from wrecked ships. Mary is further unnerved by the ever-present Justice of the Peace, Sir Humphrey Pengallan (Charles Laughton).

Classic comedy about two 13-year-old identical twins (both played by Hayley Mills), who meet for the very first time in summer camp. They soon learn that they were separated at a very early age when their parents Mitch (Brian Keith) and Margaret (Maureen O'Hara) divorced. On a lark, the twins switch places: the one living with Keith goes back home with O'Hara, and vice versa. Keith is planning to remarry the 'wrong woman', vituperative Vicky (Joanna Barnes). The twins conspire to reunite their parents, but the road to reconciliation is rough indeed.

'Hondo' (1953), 'McLintock!' (1963), 'True Grit' (1969), 'Rio Lobo' (1970), 'El Dorado' (1966), 'Big Jake' (1971), 'The Shootist' (1976), 'The Sons of Katie Elder' (1965) and 'The Man Who Shot Liberty Valance' (1962).