The Women of Pre-code Hollywood (part II)
The Women who pushed the boundaries of moral, social, and artistic conventions
Part II: Jean Arthur, Jean Harlow, Joan Bennett, Joan Blondell, Joan Crawford, Kay Francis, Loretta Young, Mae Clarke, Mae West, Marlene Dietrich, Mary Astor, Miriam Hopkins, Myrna Loy, Norma Shearer, Ruth Chatterton, Sylvia Sidney, Una Merkel
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About Pre-code
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Influential Actors
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Influential Films
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Pre-code Clips
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Pre-Code Hollywood refers to the era in American film history that took place between the "talkies" of 1929 to mid-year 1934. During this time, Hollywood studios operated under a less stringent censorship regime, allowing filmmakers to explore controversial and provocative themes that were later restricted or banned under the draconian Motion Picture Production Code (Hays Code).
The Hays Code, named after its chief proponent William H Hays who was the president of the Motion Picture Producers and Distributors of America (MPPDA) at the time, was introduced in 1930 but wasn't strictly enforced until July of 1934 when it became the industry standard. This code and its censorship standards lasted until 1968. During the Pre-Code era, filmmakers enjoyed a remarkable degree of creative freedom, resulting in movies that pushed the boundaries of moral, social, and artistic conventions. Some defining characteristics of Pre-Code Hollywood films include: Mature themes: Pre-Code films tackled subjects like adultery, promiscuity, prostitution, and substance abuse. These themes were often depicted more openly and realistically than in later eras. Strong and independent female characters: The period saw the rise of strong and assertive female protagonists who challenged traditional gender roles and norms. Actresses such as Barbara Stanwyck, Joan Crawford, and Greta Garbo portrayed multifaceted women who made their own choices and decisions. Social commentary: Many Pre-Code films delved into societal issues, including poverty, political corruption, racism, and class disparities. They didn't shy away from critiquing the establishment or questioning authority. Sexual innuendo and suggestive content: Sexual humor and suggestive scenes were common in Pre-Code films. This included scenes with scantily clad actors and risqué dialogue, elements that would be heavily censored in later years. Violence and crime: Gangster films, in particular, gained popularity during this era, with movies like "Little Caesar" (1931) and "Scarface" (1932) featuring antiheroes and glamorizing the criminal underworld. Nontraditional endings: Pre-Code films were not bound by the moralistic endings later enforced by the Hays Code. Consequently, movies often concluded with morally ambiguous or tragic resolutions. Unconventional storytelling techniques: Filmmakers experimented with narrative structures and visual styles, paving the way for advancements in cinematic storytelling. Despite the creative freedom and boundary-pushing of the Pre-Code era, it also faced criticism from various groups, including religious organizations and civic leaders, who believed that movies were becoming morally corrupting. As a response to mounting pressure, the Hays Code was strictly enforced from 1934 onward, leading to a more sanitized and family-friendly Hollywood for several decades. However, Pre-Code Hollywood remains an essential and intriguing period in cinema history, reflecting a time when filmmakers were unafraid to explore the complexities and darker aspects of human nature on the silver screen. |
During the Pre-Code Hollywood era, several actors left a significant impact on the film industry and shaped the way Hollywood portrayed characters and stories. While there were numerous influential actors during this time, here are some of the most notable ones:
Greta Garbo: Often referred to as the "Divine Garbo," Greta Garbo was one of the most iconic and enigmatic actresses of her time. Her performances in films like "Anna Christie" (1930) and "Grand Hotel" (1932) showcased her immense talent and emotional depth, making her a symbol of sophisticated sensuality and introspective drama. Clark Gable: Known as the "King of Hollywood," Clark Gable's charisma and rugged charm made him a popular leading man in Pre-Code films. His roles in movies like "Red Dust" (1932) and "It Happened One Night" (1934) earned him widespread acclaim and solidified his status as a Hollywood legend. Joan Crawford: With her alluring beauty and versatility as an actress, Joan Crawford became a prominent figure in Pre-Code Hollywood. She portrayed strong and complex female characters in films such as "Rain" (1932) and "Grand Hotel" (1932), leaving a lasting impact on the portrayal of women in cinema. Barbara Stanwyck: Renowned for her versatility and powerful performances, Barbara Stanwyck was an influential actress during the Pre-Code era. Her roles in films like "Baby Face" (1933) and "Stella Dallas" (1937) showcased her range as an actress and her ability to tackle challenging and controversial characters. James Cagney: A dynamic actor known for his intensity and energy, James Cagney made a name for himself in gangster films during the Pre-Code era. His iconic roles in movies like "The Public Enemy" (1931) and "Angels with Dirty Faces" (1938) made him synonymous with the gangster persona and left a lasting impact on the crime genre. Mae West: A true trailblazer, Mae West was not only an actress but also a talented playwright and screenwriter. Her wit, double entendres, and daring sexual innuendos in films like "She Done Him Wrong" (1933) and "I'm No Angel" (1933) challenged societal norms and solidified her as an influential figure in Hollywood. Jean Harlow: Often referred to as the "Blonde Bombshell," Jean Harlow epitomized the glamorous and seductive Hollywood starlet of the era. Her roles in films like "Red Dust" (1932) and "Dinner at Eight" (1933) made her a symbol of sensuality and allure during the Pre-Code era. These actors, among others, played pivotal roles in shaping the landscape of Pre-Code Hollywood. Their performances, charisma, and influence on film genres contributed to the era's creative freedom and willingness to explore daring themes, leaving a lasting legacy in the history of cinema. |
The Pre-Code Hollywood era produced numerous influential films that pushed the boundaries of storytelling and challenged societal norms. While it's impossible to list every influential film from this period, here's an extensive list of some of the most significant Pre-Code films:
"The Jazz Singer" (1927) - The first feature-length motion picture with synchronized sound, starring Al Jolson, which signaled the end of the silent film era. "All Quiet on the Western Front" (1930) - An anti-war film based on Erich Maria Remarque's novel, offering a powerful and unflinching portrayal of the horrors of war. "Pandora's Box" (1929) - Starring Louise Brooks, this German film explores themes of sexuality and desire and remains a classic of world cinema. "City Lights" (1931) - A silent romantic comedy-drama directed by and starring Charlie Chaplin, showcasing his iconic character, the Tramp. "Dracula" (1931) - Starring Bela Lugosi, this film brought Bram Stoker's famous vampire to the screen and established the Universal Monsters franchise. "Frankenstein" (1931) - Another Universal classic, directed by James Whale, and starring Boris Karloff as the iconic monster. "Scarface" (1932) - Directed by Howard Hawks and loosely based on the life of Al Capone, this gangster film set the standard for the genre. "Freaks" (1932) - A controversial horror film directed by Tod Browning, featuring a cast of real-life circus performers and challenging societal norms. "Grand Hotel" (1932) - A star-studded ensemble drama that brought together Greta Garbo, John Barrymore, Joan Crawford, and Wallace Beery, among others. "Shanghai Express" (1932) - Directed by Josef von Sternberg and starring Marlene Dietrich, this film is known for its lush visuals and exotic setting. "King Kong" (1933) - A groundbreaking monster film directed by Merian C. Cooper and Ernest B. Schoedsack, featuring pioneering special effects. "Duck Soup" (1933) - A Marx Brothers comedy directed by Leo McCarey, known for its zany humor and satirical take on politics and war. "I Am a Fugitive from a Chain Gang" (1932) - Starring Paul Muni, this powerful drama shed light on the harsh realities of the prison system. "Baby Face" (1933) - A controversial film starring Barbara Stanwyck, where she uses her sexuality to climb the social ladder. "42nd Street" (1933) - A Busby Berkeley musical extravaganza that showcased innovative choreography and camera work. "She Done Him Wrong" (1933) - Mae West's breakout film, known for her risqué humor and iconic one-liners. "King Kong" (1933) - A groundbreaking monster film directed by Merian C. Cooper and Ernest B. Schoedsack, featuring pioneering special effects. "It Happened One Night" (1934) - A romantic comedy directed by Frank Capra, starring Clark Gable and Claudette Colbert, which became the first film to sweep the five major Academy Awards. These are just a few examples of influential Pre-Code Hollywood films that left a lasting impact on the industry and paved the way for future generations of filmmakers to explore bold and daring storytelling. |
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Jean Arthur(1900-1991)
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Jean Arthur, born Gladys Georgianna Greene on October 17, 1900, in Plattsburgh, New York, was an American actress who became known for her natural charm, wit, and versatile acting talent. She enjoyed a successful career on stage, screen, and television, leaving an indelible mark on the entertainment industry.
Early Life and Career Beginnings: Jean Arthur grew up in New York and attended school in Washington Heights. She showed an early interest in acting and began performing in local theater productions. In her teenage years, she pursued a career in acting and modeling before making her Broadway debut in 1928. Hollywood Stardom: Jean Arthur signed with Fox Film Corporation in the early 1930s, and her Hollywood career took off with her memorable roles in pre-Code films. She quickly gained attention for her comedic timing, natural delivery, and ability to play both light-hearted and dramatic characters. Versatility in Roles: Throughout her career, Arthur displayed her versatility by excelling in a wide range of roles, from romantic comedies to dramas. Her performances in both comedic and dramatic films solidified her reputation as a skilled and adaptable actress. Collaboration with Frank Capra: Jean Arthur's collaboration with director Frank Capra became particularly noteworthy and led to some of her most iconic roles. She starred in Capra's classic films "Mr. Deeds Goes to Town" (1936), "You Can't Take It with You" (1938), and "Mr. Smith Goes to Washington" (1939). Television and Later Career: In the 1940s, Arthur transitioned to working primarily in theater and later made successful appearances on television. She starred in her own sitcom, "The Jean Arthur Show," which aired in 1966-1967. Private Life: Jean Arthur was known for her reclusive nature and aversion to publicity. She preferred to maintain her privacy and seldom gave interviews. Awards and Legacy: Jean Arthur received an Academy Award nomination for Best Actress for her role in "The More the Merrier" (1943). Her contributions to film and television earned her a star on the Hollywood Walk of Fame. Death: Jean Arthur passed away on June 19, 1991, at the age of 90, in Carmel, California. Despite her limited public appearances in her later years, her legacy as an influential and beloved actress endures, and she remains an enduring figure in the history of American cinema. |
Jean Arthur, a talented and versatile actress, made significant contributions to pre-Code Hollywood films during the early 1930s. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and provocative content in films before the enforcement of the strict Production Code. Arthur's talent, natural charm, and unique screen presence were instrumental in shaping her success during this period.
Comedy and Wit: Jean Arthur was known for her comedic timing and witty performances. She had a natural ability to deliver sharp and clever dialogue, making her a perfect fit for pre-Code comedies that explored more risqué and unconventional themes. Strong Female Characters: Arthur often portrayed strong and independent women who defied societal norms and challenged traditional gender roles. Her characters were self-assured and capable, breaking away from the stereotypical female roles of the time. Romantic Comedies: Pre-Code Hollywood embraced passionate romances and often presented unconventional love stories. Jean Arthur starred in several romantic comedies during this era, where she displayed her ability to convey both humor and heart in her performances. Drama and Emotional Depth: In addition to comedy, Arthur also took on dramatic roles that allowed her to showcase her emotional depth and range as an actress. Her performances in pre-Code dramas added to her reputation as a versatile and skilled performer. Collaboration with Acclaimed Directors: Jean Arthur worked with renowned directors during the pre-Code era, such as Frank Capra and Ernst Lubitsch. These collaborations resulted in critically acclaimed and successful films that further elevated her career. Notable pre-Code films featuring Jean Arthur include: "The Whole Town's Talking" (1935) "The Silver Horde" (1930) "The Saturday Night Kid" (1929) "The Defense Rests" (1934) "Whirlpool" (1934) Jean Arthur's contributions to pre-Code Hollywood films not only established her as a respected actress but also set the stage for her continued success in the decades that followed. Her talent, charm, and memorable performances made her one of the leading actresses of the era and an enduring figure in the history of American cinema. |
ADVENTURE IN MANHATTAN (1936)
DIAMOND JIM (1935)
DANGER LIGHTS (1930)
EASY LIVING (1937)
EX-MRS. BRADFORD, THE (1936)
HISTORY IS MADE AT NIGHT (1937)
MR. SMITH GOES TO WASHINGTON (1939)
ONLY ANGELS HAVE WINGS (1939)
PUBLIC HERO NO. 1 (1935)
SHANE (1953)
TALK OF THE TOWN, THE (1942)
TOO MANY HUSBANDS (1940)
WHIRLPOOL (1934)
YOU CAN'T TAKE IT WITH YOU (1938)
DIAMOND JIM (1935)
DANGER LIGHTS (1930)
EASY LIVING (1937)
EX-MRS. BRADFORD, THE (1936)
HISTORY IS MADE AT NIGHT (1937)
MR. SMITH GOES TO WASHINGTON (1939)
ONLY ANGELS HAVE WINGS (1939)
PUBLIC HERO NO. 1 (1935)
SHANE (1953)
TALK OF THE TOWN, THE (1942)
TOO MANY HUSBANDS (1940)
WHIRLPOOL (1934)
YOU CAN'T TAKE IT WITH YOU (1938)
Quotes:
"It's a strenuous job every day of your life to live up to the way you look on the screen."
"I am not an adult, that's my explanation of myself. Except when I am working on a set, I have all the inhibitions and shyness of the bashful, backward child . . . unless I have something very much in common with a person, I am lost. I am swallowed up in my own silence." [on Hollywood] "I hated the place - not the work, but the lack of privacy, those terrible prying fan magazine writers and all the surrounding exploitation." "First I played ingénues and western heroines; then I played western heroines and ingénues. That diet of roles became as monotonous as a diet of spinach. The studio wouldn't trust me with any other kind of role, because I had no experience in any other kind. And I didn't see how I was ever going to acquire any other experience if I couldn't get any other kind of role. It was a vicious circle." [on making Only Angels Have Wings (1939)] "I loved sinking my head into Cary Grant's chest" [on director George Stevens] "George Stevens started out as a cameraman with Laurel and Hardy, and he learned so many wonderful tricks, like having us walk forward while looking backward and then bumping into something. George was a darling man, so great with comedy. It's too bad he got serious." "I wanted to become a really accomplished actress, but I didn't know how to act, and had no chance to learn. In those days the studios didn't have coaches or drama schools and it was almost impossible to get on the sets to watch the older players. I finally decided there was only one thing to do: go back to New York and try to get into some plays there." - Jean Arthur |
Trivia:
Even though Jean and James Stewart never bonded off-screen, Jimmy called Jean "the finest actress I ever worked with. No one had her humor, her timing".
Director George Stevens called her "one of the greatest comediennes the screen has ever seen", Frank Capra credited her as "my favorite actress" and Billy Wilder called her one performance for him (in A Foreign Affair (1948)) "simply wonderful". Gary Cooper and Joel McCrea were her favorite leading men. She was teaching at Vassar at the same time that Meryl Streep was studying there in her junior year. Upon seeing the young drama major rehearsing August Strindberg's play "Miss Julie", Arthur remarked it was "just like watching a movie star". Arthur was cold and unfriendly to Rita Hayworth when they worked together on Only Angels Have Wings (1939), which Arthur later said she regretted. Turned down Donna Reed's role in It's a Wonderful Life (1946) because she didn't want to work with James Stewart again. She kept her natural dark hair color through the early part of her career and began bleaching her hair blonde in around 1930 to differentiate herself from Paramount starlet Mary Brian, whom she was said to resemble. Appeared in three Frank Capra movies: Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938) and Mr. Smith Goes to Washington (1939). On the completion of her Columbia contract in 1944, she reportedly ran through the studio's streets, shouting "I'm free, I'm free!". Despite her confident on-screen persona, Arthur suffered from chronic stage fright and social anxiety. She loathed interviews, refused to do publicity and frequently vomited in the dressing room between takes. Frank Capra said, "[when you] push that neurotic girl forcibly but gently... in front of the camera she would magically blossom into a warm, lovely, poised and confident actress". Like other well known actresses, most notably Claudette Colbert, Arthur was most frequently photographed from the left side, cinematographers having determined that this was her most favorable angle. As evidence of this fact, just take a look at Arizona (1940) or The Lady Takes a Chance (1943). Frank Capra, already having dealt with a similar issue with Colbert while photographing It Happened One Night (1934), had the procedure down pat by the time he did Mr. Deeds Goes to Town (1936) with Arthur, and only rarely gave audiences a close look at her "evil" side, if and when the situation demanded it. |
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Jean Harlow(1911-1937)
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Jean Harlow, born Harlean Harlow Carpenter on March 3, 1911, in Kansas City, Missouri, was an American actress and one of Hollywood's most iconic sex symbols of the 1930s. With her platinum blonde hair, smoldering beauty, and sizzling screen presence, she captivated audiences and became a prominent star during the Golden Age of Hollywood.
Early Life and Career Beginnings: Jean Harlow grew up in Kansas City and attended the Ferry Hall School in Illinois. She married at a young age but soon divorced and decided to pursue a career in Hollywood. Her striking looks and charismatic charm caught the attention of Howard Hughes, who cast her in her first significant film role in "Hell's Angels" (1930). Hollywood Stardom: After her debut in "Hell's Angels," Harlow's career took off rapidly. She signed with MGM and became one of the studio's top stars. Her early success was bolstered by her roles in films like "Red-Headed Woman" (1932) and "Red Dust" (1932), opposite Clark Gable. Sex Symbol and Platinum Blonde Persona: Jean Harlow's persona as a glamorous and alluring sex symbol, along with her iconic platinum blonde hair, set her apart in Hollywood. She was dubbed the "Platinum Blonde Bombshell" and became one of the era's most photographed and admired actresses. Versatility and Comedic Talent: While Harlow was primarily known for her sex appeal, she also displayed her comedic talent in films like "Dinner at Eight" (1933) and "Libeled Lady" (1936). Her performances showcased her ability to handle both dramatic and comedic roles. Personal Life and Tragedy: Jean Harlow had a tumultuous personal life, including several marriages and relationships. Tragically, her career was cut short when she passed away at the young age of 26 from kidney failure, a result of uremia, in 1937. Her death shocked Hollywood, and her devoted fans mourned the loss of their beloved star. Legacy: Despite her brief career, Jean Harlow's impact on Hollywood and popular culture endured. She remains a symbol of the 1930s' glamorous Hollywood era and continues to be celebrated for her unforgettable beauty and talent. Death: Jean Harlow passed away on June 7, 1937, at the age of 26, in Los Angeles, California. Her legacy as an iconic star, talented actress, and symbol of Hollywood's Golden Age lives on, and she is remembered as one of the most enduring and influential figures in the history of cinema. |
Jean Harlow had a significant impact on pre-Code Hollywood, particularly during the early 1930s when she rose to stardom. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and provocative content in films before the enforcement of the strict Production Code. Harlow's persona as a glamorous and alluring sex symbol, along with her captivating screen presence, made her a perfect fit for the bold and uninhibited spirit of the pre-Code era.
Establishment of the Blonde Bombshell Archetype: Jean Harlow's platinum blonde hair, sultry beauty, and confident on-screen demeanor created a distinct image that became synonymous with the term "blonde bombshell." She popularized this archetype and became the quintessential symbol of Hollywood sex appeal during the pre-Code era. Challenging Social Norms: Pre-Code Hollywood films often explored themes of sexuality, infidelity, and taboo subjects. Harlow's roles often involved characters who were unapologetically bold and defied traditional expectations of women, challenging social norms and gender roles. Portrayal of Strong and Independent Women: Harlow's characters were often depicted as assertive and independent women who were not afraid to pursue what they wanted. This portrayal of empowered female characters was groundbreaking for its time and resonated with audiences. Unapologetic Exploration of Relationships: Pre-Code Hollywood allowed for more explicit portrayals of relationships, love triangles, and extramarital affairs. Harlow's films, such as "Red Dust" (1932) and "Red-Headed Woman" (1932), featured unfiltered depictions of complex and unconventional relationships. Comedic Talents: Harlow showcased her comedic talent in pre-Code comedies, contributing to the genre's success during the era. Her ability to deliver sharp and witty lines added to her allure as an actress. Star Power: Jean Harlow's immense popularity and box office success contributed to the growing influence of actors and actresses as stars in the Hollywood system. Studios recognized her bankability and frequently cast her in leading roles, further enhancing her impact on pre-Code Hollywood. Jean Harlow's impact on pre-Code Hollywood helped shape the era's portrayal of female characters and relationships on screen. Her status as a sex symbol and her confident and uninhibited performances challenged societal norms and set a precedent for Hollywood's depiction of female stars. While her career was tragically short-lived, her influence on cinema and the image of the Hollywood starlet continues to be remembered and celebrated. |
BEAST OF THE CITY, THE (1932)
BOMBSHELL (1933)
CHINA SEAS (1935)
DINNER AT EIGHT (1933)
GIRL FROM MISSOURI, THE (1934)
HELL'S ANGELS (1930)
HOLD YOUR MAN (1933)
IRON MAN, THE (1931)
LIBELED LADY (1936)
PERSONAL PROPERTY (1937)
PLATINUM BLONDE (1931)
PUBLIC ENEMY (1931)
RECKLESS (1935)
RED DUST (1932)
RED-HEADED WOMAN (1932)
SARATOGA (1937)
SCARFACE (1932)
WIFE VS. SECRETARY (1936)
BOMBSHELL (1933)
CHINA SEAS (1935)
DINNER AT EIGHT (1933)
GIRL FROM MISSOURI, THE (1934)
HELL'S ANGELS (1930)
HOLD YOUR MAN (1933)
IRON MAN, THE (1931)
LIBELED LADY (1936)
PERSONAL PROPERTY (1937)
PLATINUM BLONDE (1931)
PUBLIC ENEMY (1931)
RECKLESS (1935)
RED DUST (1932)
RED-HEADED WOMAN (1932)
SARATOGA (1937)
SCARFACE (1932)
WIFE VS. SECRETARY (1936)
Quotes:
[on Hell's Angels (1930)] "When I was making a personal appearance, I'd always sneak in the back of the house to watch the zeppelin airplane attack. I never failed to get a tremendous thrill out of it. I probably saw that scene hundreds of times."
"I was not a born actress. No one knows it better than I. If I had any latent talent, I have had to work hard, listen carefully, do things over and over and then over again in order to bring it out." "Men like me because I don't wear a brassiere. Women like me because I don't look like a girl who would steal a husband. At least not for long." "No one ever expects a great lay to pay all the bills." - Jean Harlow |
Trivia:
Following the end of her third marriage she met actor William Powell. They were engaged for two years (due to minor differences and Jean's belief that MGM would not approve), but she became sick and died before they could marry."
On the day Hollywood canine superstar Rin Tin Tin died at age 16, Harlow, who lived across the street from his master, Lee Duncan, went over to cradle the dog's head in her lap as the famous canine died. Was the idol of Marilyn Monroe, who backed out of a biographical picture on her life. After reading the script, Monroe reportedly told her agent, "I hope they don't do that to me after I'm gone." Both Harlow and Monroe co-starred in their last films with Clark Gable, Harlow in Saratoga (1937) and Monroe in The Misfits (1961). She and Hedy Lamarr were the primary inspirations for "Batman" creator Bob Kane's Catwoman character. She used to put ice on her nipples right before shooting a scene in order to appear sexier. Had two famous superstitions: She always wore a lucky ankle chain on her left leg, which is visible in some films if you look closely, and had a lucky mirror in her dressing room. She would not leave the room without first looking in it. Never wore any underwear and always slept in the nude. Refused the lead in King Kong (1933), as well as the lead in the Tod Browning classic Freaks (1932). Had appeared with Clark Gable in six films: The Secret 6 (1931), Red Dust (1932), Hold Your Man (1933), China Seas (1935), Wife vs. Secretary (1936), and Saratoga (1937). Her final film, Saratoga (1937), became the highest-grossing film of 1937 and set all-time house records, due almost entirely to her untimely death. |
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Joan Bennett(1910-1990)
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Joan Bennett was an American actress born on February 27, 1910, in Palisades, New Jersey. She had a career that spanned over six decades and left a significant impact on both stage and screen. Bennett is particularly remembered for her contributions to the film noir genre, as well as her versatility in various other film genres.
Bennett came from a prominent acting family, with her father, Richard Bennett, and her sisters, Constance and Barbara, also being successful actors. She began her acting career in the 1920s, making her Broadway debut at the age of 18 in the play "Jarnegan." She quickly transitioned to film, signing a contract with Metro-Goldwyn-Mayer (MGM) in the early 1930s. In the 1940s, Joan Bennett's career took a notable turn as she became associated with film noir. Her work in films such as "The Woman in the Window" (1944) and "Scarlet Street" (1945), both directed by Fritz Lang, showcased her ability to portray complex, seductive, and morally ambiguous characters. Her collaboration with Lang and her performances in these films solidified her reputation as one of the prominent femme fatales of the era. Bennett's talent for playing layered and enigmatic women with hidden agendas made her an ideal fit for the film noir genre. Her performances often involved a mix of charm, manipulation, and vulnerability, which captivated audiences and added depth to her characters. She had a distinct screen presence, with her dark hair, expressive eyes, and husky voice becoming her trademark features. Outside of film noir, Joan Bennett had success in various other film genres, including romantic comedies, dramas, and thrillers. Some of her notable films include "Father of the Bride" (1950), directed by Vincente Minnelli, and "Little Women" (1949), where she portrayed Amy March. She also appeared in a range of television roles later in her career, including the popular gothic soap opera "Dark Shadows" in the 1960s. In addition to her acting career, Bennett was also involved in philanthropy and activism. She supported charitable causes, including the American Red Cross, and actively participated in community efforts. Joan Bennett's career declined in the late 1950s, but her impact on film noir and her contributions to the overall landscape of cinema remain significant. Her work helped define the femme fatale archetype and showcased her versatility as an actress. Bennett passed away on December 7, 1990, in Scarsdale, New York, leaving behind a legacy as a talented and influential figure in the world of film and entertainment. |
Joan Bennett had a notable impact on pre-Code Hollywood during the early 1930s. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and provocative content in films before the enforcement of the strict Production Code. Bennett's beauty, talent, and versatility as an actress made her a sought-after star during this period, and she made significant contributions to the films of the time.
Versatility in Roles: Joan Bennett demonstrated her versatility by taking on a wide range of characters in pre-Code films. She appeared in dramas, romantic comedies, and crime thrillers, showcasing her ability to handle different genres and portray complex emotions. Femme Fatale Roles: Bennett was known for her portrayal of femme fatale characters, often seductive and manipulative women who used their charm and allure to achieve their goals. These roles allowed her to challenge traditional stereotypes of female characters and explore the complexities of womanhood. Willingness to Push Boundaries: Pre-Code Hollywood films were known for pushing the boundaries of acceptable content, including themes of infidelity, sex, and crime. Bennett fearlessly embraced such roles, contributing to the era's exploration of taboo subjects. Collaboration with Prominent Directors: Joan Bennett worked with respected directors during the pre-Code era, including Ernst Lubitsch and Frank Capra. These collaborations resulted in critically acclaimed and commercially successful films, further enhancing Bennett's status as a rising star. Chemistry with Leading Men: Bennett had excellent on-screen chemistry with leading men of the time, including Cary Grant and Spencer Tracy. Her ability to create compelling romantic dynamics contributed to the popularity of her films. Star Power: Joan Bennett's rising popularity and box office success during the pre-Code era solidified her position as one of Hollywood's leading actresses. Studios recognized her appeal and frequently cast her in prominent roles, further elevating her impact on the industry. Some notable pre-Code films featuring Joan Bennett include: "Me and My Gal" (1932) "She Wanted a Millionaire" (1932) "Wedding Present" (1936) "The Trial of Vivienne Ware" (1932) "Little Women" (1933) Joan Bennett's impact on pre-Code Hollywood helped shape the portrayal of female characters and relationships on screen during the era. Her willingness to take on daring and complex roles, along with her talent and charm, solidified her status as a celebrated actress of her time. Though the era eventually came to an end with the enforcement of the Production Code, Bennett's contributions to pre-Code films remain an important part of her lasting legacy in Hollywood. |
13 HOURS BY AIR (1936)
DESIRE IN THE DUST (1960)
GREEN HELL (1940)
HOUSE ACROSS THE BAY, THE (1940)
LITTLE WOMEN (1933)
MAN HUNT (1941)
MARGIN FOR ERROR (1943)
ME AND MY GAL (1932)
MISSISSIPPI (1935)
NOB HILL (1945)
RECKLESS MOMENT, THE (1949)
SCARLET STREET (1945)
SECRET BEYOND THE DOOR (1948)
WOMAN IN THE WINDOW, THE (1944)
WOMAN ON THE BEACH, THE (1947)
DESIRE IN THE DUST (1960)
GREEN HELL (1940)
HOUSE ACROSS THE BAY, THE (1940)
LITTLE WOMEN (1933)
MAN HUNT (1941)
MARGIN FOR ERROR (1943)
ME AND MY GAL (1932)
MISSISSIPPI (1935)
NOB HILL (1945)
RECKLESS MOMENT, THE (1949)
SCARLET STREET (1945)
SECRET BEYOND THE DOOR (1948)
WOMAN IN THE WINDOW, THE (1944)
WOMAN ON THE BEACH, THE (1947)
Quotes:
"I don't think much of most of the films I made, but being a movie star was something I liked very much."
"My film career faded. A man can go on playing certain roles 'til he's sixty. But not a woman." [on Hollywood attorney Jerry Giesler] "Whenever trouble arose in Hollywood, the first cry for legal help was, "Get Giesler!" [on femme fatales] "Let people hiss. They'll still be sore at the bad woman long after they've forgotten the nice girl who got the man." [on femme fatales] "Few people remember good women. They don't forget bad girls." [1946] "There are hundreds of glamor girls in Hollywood, but actresses who are willing to let down their hair, are always in demand. Getting a salty role is like finding an old friend. One feels the significance of the character." [on sister Constance Bennett] "Of her fifty-five films, there were only five she considered worthy and she made no pretenses otherwise: Common Clay (1930), The Common Law (1931), What Price Hollywood? (1932), Our Betters (1933), and Topper (1937)." "Nineteen-thirty-nine was also a time of complete transition for my career. That was the year my hair turned prematurely brown. I was scheduled to do another film produced by Walter [Walter Wanger] and directed by Tay Garnett. Tay, who had just viewed Walter's film Algiers (1938), with Hedy Lamarr and Charles Boyer, insisted that Hedy was a brunette edition of me, and he and Walter thought it would be a great joke if they put me in a dark wig for Trade Winds (1938)." "For ten years, with the exception of Little Women (1933) and Private Worlds (1935), I'd played the insipid blonde ingenue, short on brains, long on bank accounts, the victim in a love triangle, and, for some reason that now escapes me, I was often English. Suddenly, I found myself filming Trade Winds (1938) in a dark wig, and with eyes at half-mast and voice lowered an octave, I positively smoldered all over the South Seas." "I'm aware of the priceless privilege of having been born into the theater. Although it was a career I rejected at first, the profession has given me an incredibly varied life and more than my fair share of success, failure, love, laughter, and despair. I've not a single regret for any of it." [on her change of appearance from blonde to brunette] "No one anticipated the reaction, least of all me, but the resulting publicity went wild. An avalanche of mail poured into the studio; later, one of the national magazines did a cover story on the three lookalikes: Hedy, Vivien Leigh and me. A national hairdresser's association expressed its wholehearted approval and predicted a new trend of brunette-ism would sweep the country. Always the comments noted the striking resemblance between Hedy Lamarr and me. I could never see it myself. To me I just looked like Joan Bennett with dark hair, but there must have been something to it because often after Trade Winds (1938) was released, in dimly lit restaurants I was greeted as Miss Lamarr. Personally, I liked the idea of escaping from all that bland, blonde innocence and thought the whole thing was very funny, but I don't think Hedy found the comparisons very amusing." - Joan Bennett |
Trivia:
She made five films for Fritz Lang, more than any other American actor or actress who worked with him (many actors disliked working with Lang).
She was a popular target of disdain in Hedda Hopper's gossip column. To get her point across Bennett mailed Hopper a skunk as a Valentines Day gift in 1950 with a note that read, "You Stink!". At age 39, Bennett became Tinseltown's youngest and sexiest grandmother when her daughter gave birth. Marlene Dietrich, the former title holder, sent Bennett a telegram thanking her for taking the "heat off her". Younger sister of actresses Barbara Bennett and Constance Bennett. Played Amy March in Little Women (1933) with Katharine Hepburn. She played Elizabeth Taylor's mother in Father of the Bride (1950). Taylor played Amy March in the remake: Little Women (1949). Co-starred with Edward G. Robinson in The Woman in the Window (1944) and Scarlet Street (1945). |
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Joan Blondell(1906-1979)
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Joan Blondell, born Rose Joan Blondell on August 30, 1906, in New York City, was an American actress known for her versatile and vivacious performances in film, television, and on stage. With her sharp wit, comedic timing, and captivating screen presence, she became a prominent star during the Golden Age of Hollywood.
Early Life and Career Beginnings: Joan Blondell grew up in a theatrical family, and her parents were both vaudeville performers. She began her career on the stage, appearing in various Broadway productions in the 1920s. Hollywood Stardom: In the early 1930s, Joan Blondell transitioned to Hollywood and signed with Warner Bros. Studios. She quickly became one of the studio's most popular and prolific actresses. Her breakthrough role came in the pre-Code film "Night Nurse" (1931), where she displayed her talent for both drama and comedy. Pre-Code Era Success: Joan Blondell's charm, charisma, and willingness to take on daring and unconventional roles made her a standout actress during the pre-Code era. She appeared in numerous pre-Code films that explored more provocative themes and characters. Versatility and Comic Talent: Blondell showcased her versatility by excelling in both comedic and dramatic roles. She became known for her comedic talents, often playing the "wise-cracking dame" character, who was sharp-tongued and quick-witted. Collaboration with Warner Bros.: Joan Blondell became associated with Warner Bros., appearing in many of their successful films. She often worked alongside fellow actors like James Cagney and Glenda Farrell, with whom she had excellent chemistry. Later Career and Television: Blondell's career continued to flourish throughout the 1940s and 1950s, with appearances in films and on television. She had success in both comedic and dramatic roles and received critical acclaim for her work. Personal Life: Joan Blondell was married three times and had one son, actor Norman Powell, from her second marriage to Dick Powell. Legacy: Joan Blondell's impact on Hollywood and popular culture endures. Her vivacious personality, comedic talent, and memorable performances in both pre-Code and later films have left an indelible mark on the entertainment industry. Death: Joan Blondell passed away on December 25, 1979, at the age of 73, in Santa Monica, California, after a battle with leukemia. Her contributions to film and her lasting impact on the world of entertainment continue to be celebrated and remembered by fans and fellow artists alike. |
Joan Blondell had a significant impact on pre-Code Hollywood during the early 1930s. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and provocative content in films before the enforcement of the strict Production Code. Blondell's talent, wit, and vivacious screen presence made her a standout actress during this period, and she made notable contributions to the films of the time.
Versatility in Roles: Joan Blondell demonstrated her versatility by taking on a wide range of characters in pre-Code films. She appeared in comedies, dramas, musicals, and crime thrillers, showcasing her ability to handle different genres with equal skill. Uninhibited and Bold Performances: Pre-Code Hollywood films often explored more risqué and taboo subjects, including sexuality, infidelity, and crime. Blondell fearlessly embraced such roles, contributing to the era's exploration of edgy and controversial themes. Strong Female Characters: Joan Blondell often portrayed strong, independent, and assertive women who were unapologetically bold and outspoken. Her characters challenged traditional gender roles and societal norms, reflecting the changing attitudes of women during the era. Chemistry with Co-Stars: Blondell had excellent on-screen chemistry with her co-stars, particularly with James Cagney and Glenda Farrell. Their dynamic collaborations in films like "Blonde Crazy" (1931) and "Three on a Match" (1932) were highly acclaimed and contributed to the success of the movies. Comedic Talent: Joan Blondell's comedic timing and wit were highly regarded during the pre-Code era. She became known for her portrayal of smart and sassy characters who delivered memorable one-liners and brought levity to her films. Box Office Success: Joan Blondell's popularity and box office appeal solidified her status as a leading actress in pre-Code Hollywood. Studios recognized her bankability and frequently cast her in prominent roles. Notable pre-Code films featuring Joan Blondell include: "Night Nurse" (1931) "Blonde Crazy" (1931) "Three on a Match" (1932) "Gold Diggers of 1933" (1933) "Footlight Parade" (1933) Joan Blondell's impact on pre-Code Hollywood helped shape the portrayal of female characters and relationships on screen during the era. Her spirited performances and willingness to take on unconventional and complex roles contributed to the dynamic and daring atmosphere of pre-Code films. Though the era eventually came to an end with the enforcement of the Production Code, Blondell's contributions to pre-Code films remain an important part of her enduring legacy in Hollywood. |
ADVENTURE (1945)
BACK IN CIRCULATION (1937)
BLONDE CRAZY (1931)
BLUE VEIL, THE (1951)
BULLETS OR BALLOTS (1936)
CENTRAL PARK (1932)
CHRISTMAS EVE (1947)
CORPSE CAME C.O.D., THE (1947)
CROWD ROARS, THE (1932)
CRY HAVOC (1943)
DON JUAN QUILLIGAN (1945)
HE WAS HER MAN (1934)
ILLICIT (1931)
I'VE GOT YOUR NUMBER (1934)
LAWYER MAN (1933)
MILLIE (1931)
MISS PINKERTON (1932)
NIGHTMARE ALLEY (1947)
NIGHT NURSE (1931)
OTHER MEN'S WOMEN (1931)
PUBLIC ENEMY (1931)
SINNER'S HOLIDAY (1930)
STAND-IN, THE (1937)
THREE ON A MATCH (1932)
BACK IN CIRCULATION (1937)
BLONDE CRAZY (1931)
BLUE VEIL, THE (1951)
BULLETS OR BALLOTS (1936)
CENTRAL PARK (1932)
CHRISTMAS EVE (1947)
CORPSE CAME C.O.D., THE (1947)
CROWD ROARS, THE (1932)
CRY HAVOC (1943)
DON JUAN QUILLIGAN (1945)
HE WAS HER MAN (1934)
ILLICIT (1931)
I'VE GOT YOUR NUMBER (1934)
LAWYER MAN (1933)
MILLIE (1931)
MISS PINKERTON (1932)
NIGHTMARE ALLEY (1947)
NIGHT NURSE (1931)
OTHER MEN'S WOMEN (1931)
PUBLIC ENEMY (1931)
SINNER'S HOLIDAY (1930)
STAND-IN, THE (1937)
THREE ON A MATCH (1932)
Quotes:
"There's a very fine line between underacting and not acting at all. And not acting is what a lot of actors are guilty of. It amazes me how some of these little numbers with dreamy looks and a dead pan are getting away wit it. I'd hate to see them on stage with a dog act."
[on Al Jolson] "The screen didn't give him enough space to project in. I remember as a kid seeing him on stage and I think to this day there have been two great performers in the world: one is Jolson and the other is Judy Garland. They had some kind of magic in front of people that no one could surpass -- they were sheer, magnificent talent beyond belief." [on Leslie Howard] "Leslie Howard was a darling flirt. He'd be caressing your eyes and have his hand on someone else's leg at the same time. He was adorable. He was a little devil and just wanted his hands on every woman around. He just loved ladies." [on Jean Harlow] "You know, she never wore underclothes and she was walking past the guys on The Public Enemy (1931) one day and James Cagney said, "How do you hold those things up?" and she said, "I ice them." And she was very serious." [on Clark Gable] "It was the joy of your life to know Clark Gable. He was everything good you could think of. He had delicious humor, he had great compassion, he was always a fine old teddy bear. In no way was he conscious of his good looks, as were most other men in pictures at that time. Clark was very unactorly." [on Bette Davis] "When Bette's good, she's real good. When she's bad, she's awful. But at least, she's not afraid to bat an eyelash." "In the '20s, you were a face. And that was enough. In the '30s, you also had to be a voice. And your voice had to match your face, if you can imagine that. Jimmy Cagney and Eddie Robinson had voices that were as important as the characters they played. You knew what you were getting even before you paid for the ticket." - Joan Blondell |
Trivia:
Made six movies with James Cagney at Warner Brothers - more than any other individual actress. Cagney said that the only woman he loved other than his wife was Blondell.
In 1927, while closing the library she worked at, she was raped by a police officer. He told her he would kill her if she told anyone. She kept her silence for decades, until finally telling her grown daughter. She went public with this in her memoirs. She playfully called her friend Bette Davis's four ex-husbands "The Four Skins" since they were all gentiles. Joan Blondell made 29 films between 1930 and 1933 while under contract to Warners and sited her role as Sissy in A Tree Grows in Brooklyn as her best and director Eliza Kazan as her favourite director. She appeared in eight films with Glenda Farrell: Three on a Match (1932), Havana Widows (1933), I've Got Your Number (1934), Kansas City Princess (1934), Traveling Saleslady (1935), We're in the Money (1935), Miss Pacific Fleet (1935) and Gold Diggers of 1937 (1936). |
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Joan Crawford(1906-1977)
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Joan Crawford, born Lucille Fay LeSueur on March 23, 1904, in San Antonio, Texas, was an American actress and one of the most prominent stars of Hollywood's Golden Age. She had a career that spanned over five decades, during which she became known for her versatility, intense screen presence, and determination to succeed.
Crawford began her career in the 1920s, initially as a dancer in various stage productions. She caught the attention of MGM studio executives and made her transition to the silver screen. In the 1930s, she rose to stardom with her performances in films such as "Grand Hotel" (1932), "Dancing Lady" (1933), and "The Women" (1939). Her early roles showcased her talent for both drama and comedy, and she quickly established herself as a versatile actress. During the 1940s and 1950s, Crawford's career took a dramatic turn as she became associated with melodramatic and film noir roles. Her performances in films like "Mildred Pierce" (1945), directed by Michael Curtiz, and "Possessed" (1947), earned her critical acclaim and recognition. In "Mildred Pierce," Crawford portrayed a determined and self-sacrificing mother, winning the Academy Award for Best Actress and solidifying her position as a leading actress of her time. Crawford's screen persona was often characterized by her fierce determination, steely resolve, and ability to portray women who defied societal expectations. She frequently played complex and strong-willed characters who navigated through personal struggles and faced challenges head-on. In addition to her acting career, Crawford was known for her tireless work ethic and business acumen. She actively managed her image and successfully transitioned to different stages of her career, adapting to changes in the industry. Crawford's commitment to her craft and her professionalism made her one of the most respected actresses of her generation. Later in her career, Crawford continued to work in film and television, although her prominence gradually diminished. She made her last film appearance in "Trog" (1970) and later ventured into television, appearing in episodes of various shows. Her final acting role was in the TV movie "Terror in the Wax Museum" (1973). Joan Crawford's life off-screen was often the subject of public fascination. She had a tumultuous personal life and was known for her intense dedication to her career. Crawford's strong and independent persona became intertwined with her public image, and she remains an enduring figure in popular culture. Joan Crawford passed away on May 10, 1977, in New York City, leaving behind a lasting legacy as one of Hollywood's iconic actresses. Her contributions to film, particularly in the realms of drama, melodrama, and film noir, continue to be recognized and appreciated by audiences and filmmakers alike. |
Joan Crawford had a significant impact on pre-Code Hollywood during the early 1930s. Crawford's talent, beauty, and strong screen presence made her a prominent and influential actress during this period, and she made notable contributions to the films of the time.
Embracing Complex Characters: Joan Crawford was known for her ability to portray complex and multi-dimensional characters. During the pre-Code era, she took on roles that pushed the boundaries of traditional female characters, often playing women who were ambitious, strong-willed, and unafraid to challenge societal norms. Exploration of Taboo Subjects: Pre-Code Hollywood films often tackled controversial and taboo subjects, including sexuality, infidelity, and social issues. Crawford fearlessly embraced these themes in her films, contributing to the era's willingness to address provocative topics. Romantic and Sexual Freedom: Crawford's characters often depicted a sense of romantic and sexual agency. Her performances in pre-Code films highlighted relationships that were more openly passionate and allowed for greater exploration of on-screen chemistry. Challenging Gender Roles: Joan Crawford's portrayals of determined and independent women reflected the changing attitudes towards women's roles in society. Her characters often pursued careers, defied expectations, and sought personal fulfillment beyond traditional domestic roles. Strong Presence and Star Power: Crawford's strong screen presence and star power were essential to the success of pre-Code films. Her performances drew audiences to theaters and contributed to the popularity of the films in which she appeared. Variety of Genres: Crawford's versatility allowed her to excel in various genres, including melodrama, comedy, and musicals. Her willingness to take on diverse roles added to her impact on pre-Code Hollywood. Notable pre-Code films featuring Joan Crawford include: "Grand Hotel" (1932) "Possessed" (1931) "Rain" (1932) "Dance, Fools, Dance" (1931) "Our Blushing Brides" (1930) Joan Crawford's impact on pre-Code Hollywood helped shape the portrayal of women, relationships, and social themes on screen during the era. Her willingness to take on bold and unconventional roles, along with her talent and charisma, solidified her status as a respected and influential actress of her time. Though the era eventually came to an end with the enforcement of the Production Code, Crawford's contributions to pre-Code films remain an important part of her enduring legacy in Hollywood. |
ABOVE SUSPICION (1943)
ACROSS TO SINGAPORE (1928)
CHAINED (1934)
DAISY KENYON (1947)
DAMNED DON'T CRY, THE (1950)
FLAMINGO ROAD (1949)
FORSAKING ALL OTHERS (1935)
GRAND HOTEL (1932)
HOLLYWOOD CANTEEN (1944)
HUMORESQUE (1946)
JOHNNY GUITAR (1954)
LADY OF THE NIGHT (1925)
LAST OF MRS. CHEYNEY, THE (1937)
LAUGHING SINNERS (1931)
LOVE ON THE RUN (1936)
MANNEQUIN (1937)
MILDRED PIERCE (1945)
OUR DANCING DAUGHTERS (1928)
OUR MODERN MAIDENS (1929)
PAID (1930)
POSSESSED (1947)
RAIN (1932)
REUNION IN FRANCE (1942)
SADIE MCKEE (1934)
STRAIT JACKET (1964)
STRANGE CARGO (1940)
SUDDEN FEAR (1952)
SUSAN AND GOD (1940)
THIS WOMAN IS DANGEROUS (1952)
TODAY WE LIVE (1933)
TORCH SONG (1953)
UNKNOWN, THE (1927)
UNTAMED (1929)
WHEN LADIES MEET (1941)
WOMEN, THE (1939)
ACROSS TO SINGAPORE (1928)
CHAINED (1934)
DAISY KENYON (1947)
DAMNED DON'T CRY, THE (1950)
FLAMINGO ROAD (1949)
FORSAKING ALL OTHERS (1935)
GRAND HOTEL (1932)
HOLLYWOOD CANTEEN (1944)
HUMORESQUE (1946)
JOHNNY GUITAR (1954)
LADY OF THE NIGHT (1925)
LAST OF MRS. CHEYNEY, THE (1937)
LAUGHING SINNERS (1931)
LOVE ON THE RUN (1936)
MANNEQUIN (1937)
MILDRED PIERCE (1945)
OUR DANCING DAUGHTERS (1928)
OUR MODERN MAIDENS (1929)
PAID (1930)
POSSESSED (1947)
RAIN (1932)
REUNION IN FRANCE (1942)
SADIE MCKEE (1934)
STRAIT JACKET (1964)
STRANGE CARGO (1940)
SUDDEN FEAR (1952)
SUSAN AND GOD (1940)
THIS WOMAN IS DANGEROUS (1952)
TODAY WE LIVE (1933)
TORCH SONG (1953)
UNKNOWN, THE (1927)
UNTAMED (1929)
WHEN LADIES MEET (1941)
WOMEN, THE (1939)
Quotes:
[In The Women (1939)] "Norma Shearer made me change my costume sixteen times because every one was prettier than hers. I love to play bitches and she helped me in this part."
"Nobody can imitate me. You can always see impersonations of Katharine Hepburn and Marilyn Monroe. But not me. Because I've always drawn on myself only." "There was a saying around MGM: "Norma Shearer got the productions, Greta Garbo supplied the art, and Joan Crawford made the money to pay for both"." [speaking to director George Cukor after learning of Marilyn Monroe's death] "You're right. She was cheap, and an exhibitionist. She was never professional, and that irritated the hell out of people. But for God's sake, she needed help. She had all these people on her payroll. Where the hell were they when she needed them? Why in the hell did she have to die alone?" [on Judy Garland] "Over the years I've heard and read so many stories about the way Judy Garland was so badly treated at Metro she ended up a mess. I did not know her well, but after watching her in action a few times I didn't want to know her well. I think her problems were caused by the fact that she was a spoiled, indulgent, selfish brat--plus a stage mother who had to be something of a monster, and a few husbands whose egos absolutely dominated hers. There were times when I felt sorry for Judy, but there were more times when I thought, "For Christ's sake, get off your ass!" . . . but when she put her mind to it, she was good. And I mean damned good. Even in her silly pictures she came off." [on filming Sudden Fear (1952)] "I have been reported dating Scott Brady and feuding with Gloria Grahame while we were shooting Sudden Fear (1952). But when you're making an independent picture you haven't time for sex or feuds - and I resent it because both make for a happy life!" - Joan Crawford |
Trivia:
Was asked to take over Carole Lombard 's role in They All Kissed the Bride (1942) after Lombard died in an airplane crash returning from a war bond tour. Crawford then donated all of her salary to the Red Cross, which found Lombard's body, and promptly fired her agent for taking his usual 10%.
She had a cleanliness obsession. She used to wash her hands every ten minutes and follow guests around her house wiping everything they touched, especially doorknobs and pieces from her china set. She would never smoke a cigarette unless she opened the pack herself, and would never use another cigarette out of that pack if someone else had touched it. Was forced by MGM boss Louis B. Mayer to drop her real name Lucille LeSueur because it sounded too much like "sewer". She always considered The Unknown (1927) a big turning point for her. She said it wasn't until working with Lon Chaney in this film that she learned the difference between standing in front of a camera and acting in front of a camera. She said that was all due to Chaney and his intense concentration, and after that experience she said she worked much harder to become a better actress. Her little tap dancing in The Hollywood Revue of 1929 (1929) was the first audible tap dance on the screen. |
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kay francis(1905-1968)
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Katharine "Kay" Francis, born on January 13, 1905, in Oklahoma City, Oklahoma, was an American actress and one of the leading stars of the 1930s and early 1940s. Known for her sophistication, beauty, and distinctive voice, Francis made her mark in Hollywood with her roles in a wide range of films, including romantic dramas, comedies, and melodramas.
Early Life and Career Beginnings: Kay Francis grew up in a well-to-do family and attended finishing schools in Europe. She initially pursued a career in modeling before entering the film industry. She made her film debut in 1929 and quickly gained attention for her striking looks and acting talent. Hollywood Stardom: In the 1930s, Kay Francis signed with Warner Bros. Studios and rose to stardom. She became known for her portrayals of elegant and sophisticated women, often with an air of worldliness and glamour. Her performances in films like "Trouble in Paradise" (1932) and "One Way Passage" (1932) garnered critical acclaim and established her as a leading lady. Versatility and Fashion Icon: Kay Francis was known for her versatility, transitioning between various genres and roles with ease. She was also celebrated for her exquisite sense of style, which made her a fashion icon of the era. Pre-Code Era Success: During the pre-Code era, Kay Francis appeared in films that tackled daring and provocative themes, including infidelity and complex relationships. Her willingness to take on these challenging roles contributed to her popularity and impact on the industry. Box Office Appeal: Kay Francis was one of the highest-paid actresses of her time and had a strong box office appeal. She was a major draw for audiences, and studios recognized her bankability by casting her in leading roles. Later Career and Life: As the 1940s progressed, Kay Francis' popularity began to wane. She transitioned to freelance work, appearing in a variety of films. Eventually, her film career slowed down, and she focused on stage work and other ventures. Personal Life: Kay Francis was married and divorced four times. She was known for her humanitarian efforts and involvement in charity work, particularly during World War II. Legacy: Despite the decline in her career in later years, Kay Francis' impact on Hollywood and her contributions to film during the 1930s remain noteworthy. She left an enduring legacy as one of the era's most glamorous and talented actresses. Death: Kay Francis passed away on August 26, 1968, at the age of 63, in New York City. Her contributions to film, her fashion influence, and her status as a representative of the sophisticated Hollywood style of the 1930s continue to be remembered and appreciated. |
Kay Francis had a significant impact on pre-Code Hollywood during the early 1930s. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and provocative content in films before the enforcement of the strict Production Code. Francis's talent, beauty, and sophisticated screen presence made her a prominent actress during this period, and she played a crucial role in shaping the films of the time.
Challenging Gender Norms: Kay Francis often portrayed strong and independent women who defied traditional gender roles. Her characters were often sophisticated, career-driven, and confident, reflecting the changing attitudes towards women's roles in society. Exploration of Complex Relationships: Pre-Code Hollywood films often delved into complex and sometimes taboo relationships. Francis's willingness to take on roles that explored themes of adultery, love triangles, and unconventional relationships contributed to the era's exploration of these subjects. Mature Themes: The pre-Code era allowed for more mature and provocative themes in films. Kay Francis's performances in films like "Trouble in Paradise" (1932) and "One Way Passage" (1932) showcased her ability to handle sophisticated and mature subject matter. Variety of Genres: Francis's versatility as an actress allowed her to excel in a range of genres, including romantic dramas, comedies, and melodramas. This versatility contributed to her popularity and impact on pre-Code Hollywood. Fashion and Glamour: Kay Francis was known for her impeccable sense of style and glamorous on-screen presence. Her fashion choices and elegant demeanor made her a style icon of the era, influencing fashion trends of the time. Popularity and Stardom: Kay Francis was a top star of her time, drawing audiences to theaters with her performances. Her presence in pre-Code films contributed to the box office success of these movies. Notable pre-Code films featuring Kay Francis include: "Trouble in Paradise" (1932) "One Way Passage" (1932) "The Keyhole" (1933) "Mandalay" (1934) "Jewel Robbery" (1932) Kay Francis's impact on pre-Code Hollywood helped shape the portrayal of women, relationships, and mature themes on screen during the era. Her willingness to take on bold and sophisticated roles, along with her talent and elegance, solidified her status as a respected and influential actress of her time. Though the era eventually came to an end with the enforcement of the Production Code, Francis's contributions to pre-Code films remain an important part of her enduring legacy in Hollywood. |
24 HOURS (1931)
ALWAYS IN MY HEART (1942)
ANOTHER DAWN (1937)
BEHIND THE MAKEUP (1930)
BRITISH AGENT (1934)
COCOANUTS, THE (1929)
CONFESSION (1937)
CYNARA (1932)
DOCTOR MONICA (1934)
FEMININE TOUCH, THE (1941)
FIRST LADY (1937)
FOR THE DEFENSE (1930)
GIRLS ABOUT TOWN (1931)
GUILTY HANDS (1931)
HOUSE ON 56TH STREET (1933)
I LOVED A WOMAN (1933)
IN NAME ONLY (1939)
JEWEL ROBBERY (1932)
KEYHOLE, THE (1933)
KING OF THE UNDERWORLD (1939)
MAN WANTED (1932)
MAN WHO LOST HIMSELF, THE (1941)
MANDALAY (1934)
MARY STEVENS, M.D. (1933)
NOTORIOUS AFFAIR, A (1930)
ONE WAY PASSAGE (1932)
STOLEN HOLIDAY (1936)
STREET OF WOMEN (1932)
TRANSGRESSION (1931)
ALWAYS IN MY HEART (1942)
ANOTHER DAWN (1937)
BEHIND THE MAKEUP (1930)
BRITISH AGENT (1934)
COCOANUTS, THE (1929)
CONFESSION (1937)
CYNARA (1932)
DOCTOR MONICA (1934)
FEMININE TOUCH, THE (1941)
FIRST LADY (1937)
FOR THE DEFENSE (1930)
GIRLS ABOUT TOWN (1931)
GUILTY HANDS (1931)
HOUSE ON 56TH STREET (1933)
I LOVED A WOMAN (1933)
IN NAME ONLY (1939)
JEWEL ROBBERY (1932)
KEYHOLE, THE (1933)
KING OF THE UNDERWORLD (1939)
MAN WANTED (1932)
MAN WHO LOST HIMSELF, THE (1941)
MANDALAY (1934)
MARY STEVENS, M.D. (1933)
NOTORIOUS AFFAIR, A (1930)
ONE WAY PASSAGE (1932)
STOLEN HOLIDAY (1936)
STREET OF WOMEN (1932)
TRANSGRESSION (1931)
Quotes:
"A dog has kindliness in his heart and dignity in his demeanor--the finest qualities anyone can have."
- Kay Francis |
Trivia:
Was one of the many stars labeled "box-office poison" in an advertisement (not an article) published in "The Hollywood Reporter" in 1938. It was paid-for by the Independent Theatre Owners Association, then being hit by a financial double whammy: the Great Depression, and the studios owning their own theaters. It was intended to drive down the bargaining power of the under-contract top stars (who were overall still making money for the studios by the ton) so that their movies would be cheaper for the Independents to rent.
According to Vincent Sherman, Warner Bros. head Jack L. Warner publicly humiliated her after her Florence Nightingale biopic The White Angel (1936) failed at the office by announcing she would appear in B pictures. She reportedly said she'd scrub floors if necessary for her $4000-a-week salary. Because of a speech impediment, she was known around the Paramount lot as "the wavishing Kay Fwancis." Was considered for the role of Scarlett O'Hara in Gone with the Wind (1939). Trade-paper articles in November 1933 announced that due to her conflicting schedule because she was working in Mandalay (1934), she had been replaced in Wonder Bar (1934) by Genevieve Tobin. Francis ultimately returned and completed her role in "Wonder Bar" as originally planned. |
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loretta young(1913-2000)
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Loretta Young, born Gretchen Michaela Young on January 6, 1913, in Salt Lake City, Utah, was an American actress who achieved fame for her versatile and enduring career in film and television. Known for her beauty, elegance, and graceful performances, Young became one of Hollywood's most beloved and respected leading ladies.
Early Life and Acting Debut: Loretta Young's mother, who had acting aspirations herself, introduced her daughter to the world of entertainment at a young age. Young made her film debut in silent films as a child actress and quickly gained attention for her natural talent and presence on screen. Rise to Stardom: Young's transition to sound films in the 1930s solidified her status as a leading actress. Her roles in films like "The Call of the Wild" (1935) and "The Farmer's Daughter" (1947) garnered critical acclaim and brought her Academy Award nominations. Versatility and Adaptability: Loretta Young was known for her versatility, excelling in a wide range of genres, including drama, comedy, romance, and musicals. Her ability to convey a wide spectrum of emotions endeared her to audiences. Fashion and Elegance: Young was also celebrated for her impeccable fashion sense and glamorous on-screen presence. Her beauty and stylishness made her a fashion icon of her time. Transition to Television: In the 1950s, Loretta Young successfully transitioned to television with "The Loretta Young Show" (also known as "Letter to Loretta"), a dramatic anthology series that showcased her talent in various roles. The show won her three Emmy Awards. Personal Life: Loretta Young's personal life was often private. She was married and divorced twice and had three children. One of her most notable life events was the birth of her daughter, Judy Lewis, whose parentage became a subject of speculation and remained a secret for many years. Faith and Charity: Young was known for her strong Catholic faith, which played a significant role in her life. She was also dedicated to charitable work and contributed to various causes. Legacy: Loretta Young's enduring legacy is marked by her contributions to both film and television. Her elegance, talent, and contributions to the entertainment industry have left an indelible mark on Hollywood history. Death: Loretta Young passed away on August 12, 2000, at the age of 87, in Los Angeles, California. Her influence on film and television, as well as her reputation as a respected and admired actress, continue to be celebrated and remembered by fans and industry professionals alike. |
Loretta Young's impact on pre-Code Hollywood was primarily influenced by her performances during the early 1930s, a period known for its daring and provocative content in films before the enforcement of the strict Production Code. While Young's career extended beyond the pre-Code era, her contributions during this time showcased her versatility as an actress and her willingness to tackle bold and unconventional roles. Here's how Loretta Young's impact on pre-Code Hollywood can be understood:
Versatility in Roles: Loretta Young's willingness to take on a variety of roles allowed her to excel in different genres. She demonstrated her range by appearing in comedies, dramas, and romantic films, showing audiences her ability to handle diverse characters and emotions. Challenging Conventions: Pre-Code Hollywood was known for its exploration of taboo subjects, including sexuality, infidelity, and social issues. Young's performances in films like "Heroes for Sale" (1933) and "Midnight Mary" (1933) showcased her ability to navigate complex themes and challenging narratives. Complex Characters: During the pre-Code era, Young played characters who often defied traditional expectations of women. Her portrayals included strong, independent women who faced adversity and made unconventional choices, reflecting the changing societal attitudes of the time. Contributions to Drama: Loretta Young's dramatic performances in pre-Code films added depth and emotional resonance to the stories. Her ability to convey a wide range of emotions contributed to the era's exploration of more serious and mature narratives. Screen Presence: Young's natural beauty and elegance captivated audiences. Her on-screen charisma and charm contributed to her popularity during the pre-Code era. Adaptation to the Code Era: As the Production Code began to be enforced more strictly, Hollywood's content and themes shifted. Loretta Young successfully transitioned to the Code era, showcasing her adaptability as an actress in a changing cinematic landscape. Notable pre-Code films featuring Loretta Young include: "Heroes for Sale" (1933) "Midnight Mary" (1933) "Zoo in Budapest" (1933) "Employees' Entrance" (1933) "Man's Castle" (1933) Loretta Young's impact on pre-Code Hollywood lies in her contributions to the era's exploration of complex themes, her willingness to portray unconventional characters, and her ability to convey emotional depth on screen. Her work during this time added to the diversity of stories told in pre-Code films and showcased her enduring talent as an actress. |
ACCUSED, THE (1948)
BISHOP'S WIFE, THE (1947)
BORN TO BE BAD (1934)
CALL OF THE WILD, THE (1935)
CAUSE FOR ALARM (1951)
DEVIL TO PAY, THE (1930)
DEVIL'S IN LOVE, THE (1933)
HATCHET MAN, THE (1932)
HEROES FOR SALE (1933)
HOUSE OF ROTHSCHILD (1934)
I LIKE YOUR NERVE (1931)
LAUGH CLOWN LAUGH (1928)
MAN'S CASTLE, A (1933)
MIDNIGHT MARY (1933)
PLATINUM BLONDE (1931)
PRIVATE NUMBER (1936)
RACHEL AND THE STRANGER (1948)
ROAD TO PARADISE (1930)
SHANGHAI (1935)
STRANGER, THE (1946)
TAXI! (1932)
UNGUARDED HOUR, THE (1936)
ZOO IN BUDAPEST (1933)
BISHOP'S WIFE, THE (1947)
BORN TO BE BAD (1934)
CALL OF THE WILD, THE (1935)
CAUSE FOR ALARM (1951)
DEVIL TO PAY, THE (1930)
DEVIL'S IN LOVE, THE (1933)
HATCHET MAN, THE (1932)
HEROES FOR SALE (1933)
HOUSE OF ROTHSCHILD (1934)
I LIKE YOUR NERVE (1931)
LAUGH CLOWN LAUGH (1928)
MAN'S CASTLE, A (1933)
MIDNIGHT MARY (1933)
PLATINUM BLONDE (1931)
PRIVATE NUMBER (1936)
RACHEL AND THE STRANGER (1948)
ROAD TO PARADISE (1930)
SHANGHAI (1935)
STRANGER, THE (1946)
TAXI! (1932)
UNGUARDED HOUR, THE (1936)
ZOO IN BUDAPEST (1933)
Quotes:
"Wearing the correct dress for any occasion is a matter of good manners."
"Our human connections are guided by God, and ultimately all of us are linked through His love. Thus, we have all already met, not as actress and fan but as His children, and we can never be lost to each other." On strategy: "The trick to life, I can say now in my advanced age, is to stop trying to make it so important." [when offered the role of Miriam in Hush...Hush, Sweet Charlotte (1964) after Joan Crawford became ill] "I don't believe in horror stories for women and I wouldn't play a part like that if I were starving." "No. They're all better than I was. We had our favorites in our period, too. Bette Davis and Ingrid Bergman were the two best actresses. They were both so honest, full of integrity, both of them. Both of them so vulnerable. I don't I think you'll ever see a better performance on film than Bette Davis in The Little Foxes (1941) or Now, Voyager (1942). Bette really really really was talented. Had the energy of a bull. And there wasn't a mean bone in her body." - Loretta Young |
Trivia:
Had an illegitimate daughter by Clark Gable. For years, this was covered up in Hollywood, and was presented as an adoption. The daughter's resemblance to both parents is uncanny. The daughter Judy Lewis later dabbled in acting before becoming a psychologist. Judy Lewis wrote a book "Uncommon Knowledge" with the truth of her parentage.
Loretta Young's third husband was Academy Award winning clothing and costume designer, Jean Louis. He was well known for designing for the stars at Columbia Studios, Universal and in his own salon in Beverly Hills. His most famous creations included the strapless gown for Rita Hayworth in the film Gilda (1946) as well as Marilyn Monroe's white sequined gown she wore to sing "Happy Birthday, Mr. President" to John F. Kennedy. Jean Louis married Loretta after the death of his first wife, Maggy, who was a personal friend of Loretta for over 50 years. She was the first actress to ever model makeup products for Max Factor. Young had a low tolerance for foul language, so much in fact that whenever she went to set she brought with her a "swear box". Her swear box was used to hold money from cast and crew members who swore within her presence who in return would put money in the box. Barbara Stanwyck and Robert Mitchum put large sums of money in the swear box on a regular basis, telling Young: "This should just about cover what I'm about to say to you!". Marlene Dietrich said of her: "Every time she 'sins,' she builds a church. That's why there are so many Catholic churches in Hollywood.". Turned down the part of Ellie Andrews in It Happened One Night (1934). Claudette Colbert was then given the role and won a Best Actress Oscar for her performance. Starred in three Oscar Best Picture nominees: The House of Rothschild (1934), The White Parade (1934) and The Bishop's Wife (1947). Loretta and older sisters Sally Blane and Polly Ann Young worked as extras during school vacations while young. Their mother ran a boarding house to support the family. She turned down roles in The Innocents (1961) and Hush...Hush, Sweet Charlotte (1964). Had turned down 3 roles which eventually went to French actress Claudette Colbert, they are It Happened One Night (1934), Under Two Flags (1936) and The Two Mrs. Grenvilles (1987). |
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mae clarke(1910-1992)
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Mae Clarke, born Violet Mary Klotz on August 16, 1910, in Philadelphia, Pennsylvania, was an American actress known for her work in film during the 1930s and 1940s. Clarke appeared in a variety of roles, including both dramatic and comedic performances, and is remembered for her contributions to Hollywood's Golden Age.
Early Life and Acting Beginnings: Mae Clarke grew up in a family with a background in entertainment. She began her acting career on the stage and eventually transitioned to film in the late 1920s. Film Career: Clarke's breakthrough role came in the early 1930s with the film "Waterloo Bridge" (1931). Her performance in this film earned her praise and showcased her talent for both drama and romance. Iconic Scene in "Frankenstein": Mae Clarke is perhaps best known for her role as Elizabeth in the iconic 1931 film "Frankenstein." Her portrayal of the character, along with the famous scene where she is menaced by the monster, remains a memorable moment in film history. Range of Roles: Clarke was known for her versatility, taking on a range of characters in various genres, including comedies, dramas, and crime films. Her ability to adapt to different roles demonstrated her acting skills. Career Highlights: Beyond "Frankenstein," Mae Clarke appeared in notable films such as "The Public Enemy" (1931) alongside James Cagney, and "Lady Killer" (1933) with James Cagney again. Later Career: As the 1940s progressed, Clarke's film career began to slow down. She continued to act in both film and television, although her roles became less frequent. Personal Life: Mae Clarke was married multiple times and had a son from her second marriage. Legacy: While she may not have achieved the same level of lasting stardom as some of her contemporaries, Mae Clarke's contributions to classic Hollywood cinema remain significant. Her performances, especially in "Frankenstein," are remembered by film enthusiasts. Death: Mae Clarke passed away on April 29, 1992, at the age of 81, in Woodland Hills, California. Mae Clarke's work, including her memorable role in "Frankenstein," showcases her impact on Hollywood during the early decades of cinema. While her career spanned various genres and roles, her legacy endures as part of the rich tapestry of classic film history. |
Mae Clarke had an impact on pre-Code Hollywood primarily through her performances in films that tackled daring and controversial themes during the early 1930s. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more explicit and provocative content in films before the enforcement of the strict Production Code. Clarke's roles in pre-Code films showcased her versatility as an actress and her willingness to take on characters involved in unconventional and edgy narratives. Here's how Mae Clarke's impact on pre-Code Hollywood can be understood:
Exploration of Taboo Subjects: Pre-Code Hollywood films often dealt with themes such as sexuality, crime, and social issues more openly than films of later eras. Clarke's willingness to take on roles in films that explored these taboo subjects contributed to the era's provocative storytelling. Dramatic Range: Clarke's performances spanned a range of genres, from dramatic roles to comedies. This showcased her versatility as an actress and her ability to tackle different emotional tones demanded by pre-Code narratives. Memorable Scenes: Mae Clarke's portrayal of Elizabeth in the iconic "Frankenstein" (1931) is a standout example of her impact. The dramatic and emotional weight of her performance, especially during the scene where she confronts the monster, left a lasting mark on film history. Romantic and Dramatic Complexities: Clarke's roles often involved complicated relationships and emotional conflicts, which were characteristic of pre-Code films. Her performances added depth to the exploration of these complexities on screen. Collaboration with Notable Filmmakers: Clarke's collaborations with renowned directors and actors of the era, including James Cagney and Boris Karloff, contributed to the quality and impact of her films. Cultural Significance: Mae Clarke's involvement in pre-Code Hollywood exemplified the transitional nature of the era, where filmmakers were pushing the boundaries of storytelling and societal norms. Her performances in these films helped shape the cinematic landscape of the time. Notable pre-Code films featuring Mae Clarke include: "Frankenstein" (1931) "Waterloo Bridge" (1931) "The Public Enemy" (1931) "Lady Killer" (1933) Mae Clarke's impact on pre-Code Hollywood lies in her contribution to the era's exploration of daring themes and her ability to convey emotional depth in her performances. Her willingness to take on unconventional roles and participate in the era's experimental storytelling added to the diversity of narratives seen on screen during that time. |
BECAUSE OF YOU (1952)
CATERED AFFAIR, THE (1956)(UC)
FRONT PAGE, THE (1931)
FRANKENSTEIN (1931)
GOOD BAD GIRL, THE (1931)
HEARTS IN BONDAGE (1936)
HORIZONS WEST (1952)
I DIED A THOUSAND TIMES (1955)(UC)
INSIDE STRAIGHT (1951)(UC)
LADY KILLER (1933)
MAN WITH TWO FACES, THE (1934)
MOHAWK (1956)
NANA (1934)
NIGHT WORLD (1932)
NOT AS A STRANGER (1955)
PAROLE GIRL (1933)
PENGUIN POOL MURDER, THE (1932)
PENTHOUSE (1933)
PUBLIC ENEMY (1931)
SINGIN' IN THE RAIN (1952)(UC)
TURN BACK THE CLOCK (1933)
UNKNOWN MAN, THE (1951)(UC)
WATERLOO BRIDGE (1931)
WICHITA (1955)
WOMEN'S PRISON (1955)
CATERED AFFAIR, THE (1956)(UC)
FRONT PAGE, THE (1931)
FRANKENSTEIN (1931)
GOOD BAD GIRL, THE (1931)
HEARTS IN BONDAGE (1936)
HORIZONS WEST (1952)
I DIED A THOUSAND TIMES (1955)(UC)
INSIDE STRAIGHT (1951)(UC)
LADY KILLER (1933)
MAN WITH TWO FACES, THE (1934)
MOHAWK (1956)
NANA (1934)
NIGHT WORLD (1932)
NOT AS A STRANGER (1955)
PAROLE GIRL (1933)
PENGUIN POOL MURDER, THE (1932)
PENTHOUSE (1933)
PUBLIC ENEMY (1931)
SINGIN' IN THE RAIN (1952)(UC)
TURN BACK THE CLOCK (1933)
UNKNOWN MAN, THE (1951)(UC)
WATERLOO BRIDGE (1931)
WICHITA (1955)
WOMEN'S PRISON (1955)
Quotes:
[on Colin Clive] "Colin Clive was the dearest, kindest (in the real meaning of the word 'kind') man, who gave you importance. He was so wonderful, so clever. When he started acting in a scene, I wanted to stop and just watch... I'd think, " Here I am, playing scenes with this marvelous actor! Mr. Whale would say, "Colin's voice is like a pipe organ... I just pull out the stops, and he produces the music." Colin was electric. I was mesmerized by him - so much so that I hoped it didn't show! When he looked at me, I'd flush. He had a wife back in England, and I had my young man (of the "Waterloo Bridge" premiere.) In fact, I was glad my fiancé was at the premiere that night - to be my good anchor against my stormy waves of fancy for Colin. He was the handsomest man I ever saw - and also the saddest. Colin's sadness was elusive; the sadness you see if you contemplate many of the master painters' and sculptors' conceptions of the face of Christ - the ultimate source in my view of all sadness."
- Mae Clarke |
Trivia:
Immortal as the recipient of James Cagney's classic grapefruit-in-the-face in The Public Enemy (1931).
In her late 70s she worked in the "Court of Miracles" show at the Universal Studios Tour in Hollywood, not far from where she had filmed her role as Dr. Frankenstein's wife in Frankenstein (1931). Collaborated on shooting three movies with director James Whale in 1931, when both were under contract to Universal: "Waterloo Bridge," "Frankenstein," and "Impatient Maiden.". Was paired with Lew Ayres in three films: The Impatient Maiden (1932), Night World (1932) and, Silk Hat Kid (1935). She also starred in his only outing as a director, the civil war drama, Hearts in Bondage (1936). |
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mae West(1893-1980)
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Mae West, born Mary Jane West on August 17, 1893, in Brooklyn, New York, was an American actress, playwright, singer, and comedian known for her provocative and witty persona. She became a cultural icon during the early 20th century, challenging social norms and pushing boundaries with her bold and risqué performances.
Early Life and Career Beginnings: Mae West grew up in a diverse and working-class neighborhood in Brooklyn. She showed an early interest in entertainment and began performing in vaudeville at a young age. Her comedic talents and charismatic presence quickly gained attention. Broadway Success: Mae West's talent led her to Broadway, where she wrote and starred in her own plays, including the controversial "Sex" (1926), which led to her arrest for obscenity. Despite the controversy, the play's notoriety helped catapult her to stardom. Hollywood Stardom: Mae West's fame on Broadway led to a contract with Paramount Pictures. She made her film debut in "Night After Night" (1932), stealing scenes with her sassy and seductive persona. West's unique blend of innuendo-laden humor and glamour became her trademark. Provocative Content: Known for her sharp wit and double entendres, Mae West's on-screen characters were often unapologetically confident and sexually empowered. Her audacious dialogue and confident demeanor challenged societal norms of the time. Censorship Battles: Mae West's films often faced battles with censorship due to their daring content. The enforcement of the Production Code in the mid-1930s brought stricter guidelines, leading to a decline in the explicit content of her films. Cultural Impact: Mae West's impact extended beyond the screen. Her catchphrases and persona became part of American popular culture. She was also a style icon, known for her glamorous fashion sense. Later Career: After a hiatus from film, West returned in the 1970s with roles in movies like "Myra Breckinridge" (1970) and "Sextette" (1978). Her allure remained strong, and she continued to captivate audiences with her unique charm. Legacy: Mae West's contributions to entertainment are remembered for her role in breaking down barriers for women in comedy and her role in shaping the evolving landscape of Hollywood. Her influence can be seen in the work of many comedians and performers who followed in her footsteps. Death: Mae West passed away on November 22, 1980, at the age of 87, in Los Angeles, California. Her impact on entertainment, her contributions to comedy, and her trailblazing spirit continue to be celebrated by fans and artists alike. |
Mae West had a profound impact on pre-Code Hollywood due to her audacious and provocative persona, her willingness to challenge societal norms, and her use of risqué humor in her performances. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and explicit content in films before the enforcement of the strict Production Code. Mae West's contributions during this time were significant in shaping the era's cinematic landscape:
Challenging Social Norms: Mae West's bold and sexually confident characters challenged conventional notions of femininity and sexuality. Her on-screen personas were unabashedly outspoken about their desires, which was revolutionary for the time. Innovative Dialogue: West's witty and innuendo-laden dialogue became her trademark. Her clever wordplay and use of double entendres added layers of humor and meaning to her performances, appealing to audiences' sense of humor and creating a unique style that was both playful and suggestive. Strong Female Characters: In an era when women's roles were often limited to conventional stereotypes, West's characters were empowered, independent, and unapologetically self-assured. She portrayed women who were in control of their lives and openly pursued their desires. Provocative Content: Mae West's films, such as "She Done Him Wrong" (1933) and "I'm No Angel" (1933), featured themes of love, sexuality, and romance that were considered daring and explicit for the time. Her films often included scenes and dialogue that pushed the boundaries of acceptability. Box Office Success: Mae West's films were highly successful at the box office. Her unique blend of humor, charisma, and sensuality resonated with audiences, making her one of the top box office draws of the era. Censorship Battles: West's films frequently faced battles with censors due to their provocative content. While her films were released during the lenient pre-Code era, her work often tested the limits of acceptability and contributed to the eventual enforcement of the Production Code. Cultural Icon: Mae West's impact extended beyond the silver screen. Her distinctive style, memorable catchphrases, and persona became part of American pop culture. Her legacy influenced the evolution of comedy and the portrayal of women in entertainment. Mae West's impact on pre-Code Hollywood was marked by her ability to use humor, sexuality, and bold characters to challenge societal norms and expectations. Her pioneering spirit paved the way for future generations of performers and contributed to the changing attitudes toward sexuality and women's roles in film and society. |
Quotes:
"It's better to be looked over than overlooked."
"A hard man is good to find." "When women go wrong, men go right after them!" On strategy: "The trick to life, I can say now in my advanced age, is to stop trying to make it so important." "When caught between two evils I generally pick the one I've never tried before." "When I'm good, I'm very good. But when I'm bad, I'm better." "It's not the man in your life that counts. It's the life in your man." "Is that a gun in your pocket or are you just glad to see me?" "I wrote the story myself. It's all about a girl who lost her reputation but never missed it." "Good girls go to heaven. Bad girls go everywhere else." "Ten men waiting for me at the door? Send one of them home, I'm tired." "I do all my writing in bed; everybody knows I do my best work there." "Few men know how to kiss well. Fortunately, I've always had time to teach them." "I always save one boyfriend for a rainy day . . . and another in case it doesn't rain." "Why don't you come up sometime and see me? I'm home every evening . . . Come up, and I'll tell your fortune." [on Marilyn Monroe] "The only gal who came near to me in the sex appeal department was pretty little Marilyn Monroe. All the others had were big boobs." "My advice for those gals who think they have to take their clothes off to be a star is: baby, once you've boned, what's left to create an illusion? Let 'em wonder .I never believed in givin' 'em too much of me." [on her popularity within the gay community] "They're crazy about me 'cause I give 'em a chance to play. My character is sexy and with humor and they like to imitate me, the things I say, the way I say 'em, the way I move. It's easy for'em to imitate me 'cause the gestures are exaggerated, flamboyant, sexy, and that's what they want to look like, feel like. And I've stood up for 'em. They're good kids. I don't like the police abusin' 'em, and in New York I told 'em, "When you're hittin' one of those guys, you're hittin' a woman, 'cause a born homosexual is a female in a male body"." "I was in the office at Paramount, and they gave me a large book with a lot of photographs of different leading men, and I was sitting at a table or a desk right near the window and the door, and uh, after I looked at a few I kind of glanced out the window and I saw this good-looking guy walk across the street. So, I said, "That's about the best-looking thing in Hollywood: who is he?" So they looked, and they said, "Oh, that's Cary Grant. We haven't used him in a picture as yet, but we made tests of him with some of the starlets." I said, "Well, if this guy can talk, I'll take him." So they called him in, and we met, and he said, "How d'ya do?" and I said, "OK." And they said, "What part?" and I said, "The lead, of course." So he got the lead." - Mae West |
Trivia:
She was one of the first women to consistently write the movies she starred in.
One of her boyfriends and life long friends was the African American Boxer William Jones, nicknamed Gorilla Jones. When management at her Ravenswood apartment building barred him from entering, she solved the problem buy purchasing the building and lifting the ban. Her films are credited with single-handedly saving failing and debt-ridden Paramount Pictures from bankruptcy in the early 1930s. Appears on sleeve of The Beatles "Sgt Pepper's Lonely Hearts Club Band". West at first declined to be pictured on the cover ("What would I be doing in a lonely hearts club?!"), but reconsidered when The Beatles sent her a handwritten personal request. According to Tony Curtis, her famous walk originated while beginning her career as a stage actress. Special six-inch platforms were attached to her shoes to increase the height of her stage presence. Her walk literally was "one foot at a time". She was with George Raft in both her first (Night After Night (1932)) and last (Sextette (1977)) film. Although critics thought that she and W.C. Fields worked well together on camera in My Little Chickadee (1940), off-screen they couldn't stand each other. Was banned from NBC Radio after a guest appearance in 1937 with Edgar Bergen and Charlie McCarthy that was loaded with flirtatious dialogue and double-entendres. She returned to the network as a guest on Perry Como's Kraft Music Hall (1948) in 1949. Turned down a role in Roustabout (1964), which eventually went to Barbara Stanwyck. |
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Marlene Dietrich(1901-1992)
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Marlene Dietrich, born Marie Magdalene Dietrich on December 27, 1901, in Berlin, Germany, was a legendary German-American actress and singer known for her sultry beauty, distinctive voice, and captivating performances on both the big screen and the stage. She became an iconic figure in the entertainment industry and a symbol of glamour and sophistication.
Early Life and Career Beginnings: Marlene Dietrich was raised in a middle-class family. She initially trained as a violinist and attended drama school, eventually landing roles in theater and silent films in Germany. Breakthrough Role: Dietrich's breakthrough came with her role as Lola-Lola in the film "The Blue Angel" (1930), directed by Josef von Sternberg. This film marked her transition from the German film industry to Hollywood and established her international fame. Collaboration with Josef von Sternberg: Dietrich's collaboration with director Josef von Sternberg resulted in a series of iconic films, including "Morocco" (1930), "Dishonored" (1931), "Shanghai Express" (1932), and "The Scarlet Empress" (1934). These films showcased her allure and enigmatic screen presence. Sophistication and Glamour: Marlene Dietrich was known for her sophisticated style and androgynous fashion choices, often wearing tailored suits and tuxedos. Her distinctive fashion sense contributed to her status as a fashion icon. Hollywood Stardom: Dietrich's success continued in Hollywood during the 1930s and 1940s. She appeared in a variety of genres, including dramas, musicals, and comedies, and worked with prominent directors and actors of the era. Singing Career: In addition to her acting, Dietrich had a successful singing career. She performed in cabarets, on stage, and in films, often delivering songs in her distinctive low voice. Her rendition of "Falling in Love Again" became one of her signature songs. World War II and Later Career: During World War II, Marlene Dietrich used her fame to support the Allied forces. She entertained troops on the front lines and was awarded the Medal of Freedom by the United States for her efforts. Her film career continued after the war, although she became more selective about her roles. Legacy: Marlene Dietrich's impact on cinema, fashion, and popular culture is enduring. Her unique blend of sensuality, strength, and vulnerability made her a trailblazing figure in an era of changing societal norms. Personal Life: Dietrich's personal life was marked by a sense of privacy. She was known for her bisexuality and unconventional relationships. She also maintained a sense of independence and autonomy throughout her life. Death: Marlene Dietrich passed away on May 6, 1992, in Paris, France. Her legacy as an international icon, both for her cinematic achievements and her contributions to the entertainment industry, continues to be celebrated and studied by fans, artists, and scholars. |
Marlene Dietrich had a significant impact on pre-Code Hollywood through her unique blend of sensuality, charisma, and boundary-pushing performances. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and provocative content in films before the enforcement of the strict Production Code. Dietrich's contributions during this time helped shape the era's cinematic landscape and influenced the portrayal of women on screen:
Androgynous Style: Marlene Dietrich's androgynous fashion choices challenged traditional gender norms of the time. She often wore tailored suits, tuxedos, and pantsuits, blurring the lines between masculinity and femininity. Her style subverted conventional expectations, and her fearless approach to fashion made her a trendsetter. Sultry Screen Presence: Dietrich's smoldering on-screen presence was a departure from the more demure portrayals of women in earlier films. Her confident and alluring performances in films like "Morocco" (1930) and "Shanghai Express" (1932) brought a new level of sensuality to the screen. Exploration of Complex Characters: Pre-Code Hollywood embraced more complex and morally ambiguous characters. Dietrich's roles often explored themes of desire, power, and vulnerability, allowing her to delve into multi-dimensional characters that challenged societal norms. Sexual Freedom and Agency: Dietrich's characters displayed a sense of sexual agency and freedom that was groundbreaking for the time. Her portrayals of sexually confident and assertive women reflected changing attitudes towards female empowerment and desire. Challenging Conventions: Marlene Dietrich's willingness to take on roles that dealt with controversial and taboo subjects, including adultery and seduction, pushed the boundaries of what was considered acceptable on screen during the pre-Code era. Collaboration with Directors: Dietrich's collaboration with director Josef von Sternberg resulted in a series of films that emphasized her allure and captivating screen presence. Their partnership showcased her ability to embody complex and enigmatic characters. International Stardom: Dietrich's impact extended beyond Hollywood. Her international stardom helped introduce American cinema to audiences around the world and contributed to the globalization of film culture. Influence on Fashion and Style: Marlene Dietrich's fashion choices and signature look had a lasting impact on the world of fashion. Her androgynous style and confidence inspired designers and women to experiment with different forms of self-expression. Marlene Dietrich's impact on pre-Code Hollywood lies in her portrayal of sexually confident and independent women who defied societal norms. Her contributions to cinema during this era helped pave the way for a more complex and nuanced representation of women on screen, challenging traditional roles and expectations. Her fearless approach to her craft and her willingness to push boundaries left an indelible mark on the history of film. |
Quotes:
[on The Blue Angel (1930), German-language version of The Blue Angel (1930)] "I thought everything we were doing was awful. They kept a camera pointed here [at my groin]. I was so young and dumb."
[in 1964] "I had no desire to be a film actress, to always play somebody else, to be beautiful with somebody constantly straightening out your every eyelash. It was always a big bother to me." "A country without bordellos is like a house without bathrooms." "The weak are more likely to make the strong weak than the strong are likely to make the weak strong." "Sex is much better with a woman, but then one can't live with a woman." "Gary Cooper was neither intelligent nor cultured. Just like the other actors, he was chosen for his physique, which, after all, was more important than an active brain." [In 1972, about Liza Minnelli] "I'm annoyed when people keep comparing her to her mother [Judy Garland]. She's nothing to do with her mother. She's a completely different woman. The film Cabaret (1972) is a great hit for her and that's all one wants." "Once a woman has forgiven a man, she must not reheat his sins for breakfast." ]on Rock Hudson] "He was one of the gentlest, kindest men in Hollywood--and all those journalists should burn in Hell for the bile they printed about him when he died." [when Paramount bought the rights to the book, 'Mommie Dearest'] "I am shocked that Paramount bought that filthy book and made the frightful bitch who wrote it rich, and that rhymes. I did not know Joan Crawford but nobody deserves that kind of slaughter. Too bad she did not leave her where she found her, so she could now spit her poison in the slums of some big city. I hate her with a passion and I know the public will." [on her preference for trousers] "They are so comfortable. It takes too much time to be a well-dressed woman. I have watched others. Bags, shoes, hats. They must think of them all the time. I cannot waste that time." "If I dressed for myself, I wouldn't bother at all. Clothes bore me. I'd wear jeans. I dress for the image. Not for myself, not for the public, not for fashion, not for men." - Marlene Dietrich |
Trivia:
She sucked lemon wedges between takes to keep her mouth muscles tight.
She demanded that Max Factor sprinkle half an ounce of real gold dust into her wigs to add glitter to her tresses during filming. The only show-business friend she ever had was Mae West. However, they never saw one another outside the Paramount lot. Her make-up man said she kissed so hard that she needed a new coat of lipstick after every kiss. Never worked without a mirror on the set so she could constantly check her makeup and hair. She prided herself on the fact that she had slept with three men of the Kennedy clan - Joseph P. Kennedy, Joseph P. Kennedy Jr. and John F. Kennedy. Almost immediately upon hearing of John Gilbert's status as an all-but-forgotten matinee idol now drinking himself to death, Dietrich devoted herself to the project of "rehabilitating" Gilbert. Although she failed to "save" Gilbert (who died in 1936) Marlene did become a lifelong "guardian angel" to Gilbert's young daughter, remembering the child with annual Christmas and birthday gifts until Dietrich died more than 60 years later. Marlene suffered from bacilophobia, the fear of germs. She thought of feet to be the ugliest part of the human body, and therefore always tried to hide them in one way or another She has appeared in four films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Morocco (1930), Destry Rides Again (1939), Touch of Evil (1958) and Judgment at Nuremberg (1961). Director William Wyler cast her in four films that received Academy Award nominations: These Three (1936) and its remake The Children's Hour (1961), The Heiress (1949) and Carrie (1952). In 1933, she was detained at a train station in Paris for violating the ban about women wearing trousers. Despite her status as one of Hollywood's most legendary sex symbols, Dietrich was known to be most comfortable indulging her fantasy of being a "typical hausfrau," cleaning house, cooking chicken soup and comforting those in need of consoling. Bette Davis, who co-founded the USO's Hollywood canteen, adored Dietrich for her devotion to the project, and remembered Dietrich as being equally likely to be dancing with U.S. servicemen or be found down on her knees avidly scrubbing the canteen's kitchen floors. According to daughter Maria Riva, Dietrich had a long-standing dislike of actress Loretta Young. Was considered for the role of Margo Channing in All About Eve (1950) after Claudette Colbert was forced to pull out of the project due to back injury. However the part was given to Bette Davis, who went on to receive a Best Actress Oscar nomination for her performance. Campaigned for the role of Mama Hanson in I Remember Mama (1948) but Irene Dunne, who went on to receive a Best Actress Oscar nomination for her performance, was cast instead. She turned down the role of Charlie in Station West (1948). The part went to Jane Greer. |
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mary astor(1906-1987)
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Mary Astor, born Lucile Vasconcellos Langhanke on May 3, 1906, in Quincy, Illinois, was an American actress whose career spanned several decades. She is best known for her versatile performances in both silent and sound films, as well as her memorable roles in classic Hollywood movies. Astor's talent and presence on screen earned her critical acclaim and a lasting legacy in the entertainment industry.
Early Life and Acting Beginnings: Mary Astor was born to a theatrical family, and her parents noticed her natural acting talent at an early age. She made her first film appearance as a child extra in 1921 and began taking on more significant roles shortly thereafter. Rise to Stardom: Astor gained recognition for her role in the silent film "Beau Brummel" (1924), which marked her breakthrough. As the transition to sound films occurred, she successfully made the shift and continued to establish herself as a talented actress. Versatility and Success: Astor's talent for adapting to a variety of roles led to her success in various genres, including dramas, comedies, and mysteries. She appeared in numerous films throughout the 1920s and 1930s. Notable Films: Mary Astor's filmography includes acclaimed roles in movies such as "The Maltese Falcon" (1941), where she portrayed Brigid O'Shaughnessy opposite Humphrey Bogart, and "Meet Me in St. Louis" (1944), in which she played the mother of the Smith family. Academy Award Win: Astor won the Academy Award for Best Supporting Actress for her role in "The Great Lie" (1941), solidifying her status as a respected and talented actress. Personal Life and Scandal: Astor's personal life was marked by a high-profile scandal in the early 1930s involving a contentious custody battle for her daughter. The scandal temporarily affected her career but didn't overshadow her talent and contributions. Later Career: Astor continued to act in films and television in the subsequent decades, showcasing her enduring talent. She appeared in various television shows and made guest appearances. Autobiography: In 1959, Mary Astor published her autobiography, "My Story," in which she candidly discussed her career, personal life, and the challenges she faced. Death and Legacy: Mary Astor passed away on September 25, 1987, at the age of 81, in Woodland Hills, California. Her legacy in Hollywood endures through her memorable performances, her contribution to classic films, and her impact on the golden age of cinema. Mary Astor's career was marked by her versatility as an actress and her ability to portray a wide range of characters. Her talent and dedication to her craft continue to be celebrated by film enthusiasts and professionals alike. |
Mary Astor's contribution to pre-Code Hollywood was significant, as she appeared in several films during this era that pushed the boundaries of societal norms and censorship regulations. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and explicit content in films before the enforcement of the strict Production Code. Astor's performances in pre-Code films demonstrated her versatility as an actress and her willingness to take on roles that explored complex and controversial themes. Here's how Mary Astor contributed to pre-Code Hollywood:
Challenging Moral Norms: Mary Astor appeared in pre-Code films that addressed themes such as sexuality, infidelity, and societal taboos. Her roles often involved characters who faced moral dilemmas, reflecting the era's willingness to explore provocative narratives. Exploring Complex Relationships: Astor's pre-Code films often delved into intricate relationships, including those involving love triangles, extramarital affairs, and unconventional partnerships. Her performances brought depth to these complex dynamics. Diverse Range of Characters: Astor's ability to portray a variety of characters allowed her to excel in pre-Code films that featured both dramatic and comedic roles. She demonstrated her versatility by taking on characters with diverse personalities and backgrounds. Collaboration with Directors: Astor worked with prominent directors of the era, delivering nuanced performances that enhanced the impact of the films. Her collaborations with filmmakers who embraced pre-Code storytelling contributed to the success of these movies. Tackling Social Issues: Pre-Code films often tackled social issues that were considered daring at the time. Astor's involvement in these films helped shed light on topics such as women's independence, relationships, and the challenges of modern life. Pushing Boundaries: Mary Astor's willingness to participate in pre-Code films that pushed the boundaries of acceptability in terms of content and character portrayal demonstrated her commitment to her craft and her willingness to take on challenging roles. Notable pre-Code films featuring Mary Astor include: "Red Dust" (1932) – Astor's role as a prostitute in this steamy drama was a daring departure from her earlier image. "The Lost Squadron" (1932) – Astor played a character involved in a complex romantic relationship, reflecting the era's exploration of unconventional partnerships. "The Purchase Price" (1932) – In this film, Astor portrayed a nightclub singer who gets entangled in a difficult situation. Mary Astor's contribution to pre-Code Hollywood lies in her willingness to embrace the era's themes and characters that challenged societal norms and moral standards. Her performances added depth and complexity to films that explored human relationships and the complexities of human behavior, ultimately contributing to the rich tapestry of storytelling during that era. |
ACROSS THE PACIFIC (1942)
ACT OF VIOLENCE (1949)
DODSWORTH (1936)
I AM A THIEF (1935)
KENNEL MURDER CASE, THE (1933)
KISS BEFORE DYING, A (1956)
LITTLE GIANT, THE (1933)
MALTESE FALCON, THE (1941)
MAN WITH TWO FACES, THE (1934)
MIDNIGHT (1934)
MURDER OF DR. HARRIGAN, THE (1936)
OTHER MEN'S WOMEN (1931)
RED DUST (1932)
UPPER WORLD (1934)
ACT OF VIOLENCE (1949)
DODSWORTH (1936)
I AM A THIEF (1935)
KENNEL MURDER CASE, THE (1933)
KISS BEFORE DYING, A (1956)
LITTLE GIANT, THE (1933)
MALTESE FALCON, THE (1941)
MAN WITH TWO FACES, THE (1934)
MIDNIGHT (1934)
MURDER OF DR. HARRIGAN, THE (1936)
OTHER MEN'S WOMEN (1931)
RED DUST (1932)
UPPER WORLD (1934)
Quotes:
"I was never totally involved in movies. I was just making my father's dream come true."
[on her early Hollywood roles] "I was as two-dimensional as the screen itself: cool, indifferent, looking lovely in close-ups. Period. Period. Period. When was I ever going to learn to act? You can't learn if you can't experiment and find out what works and doesn't work. But the hours are long, the schedule rigid, so I did what I was told and saved time and money for the front office. And got a lot of jobs that way." "A person without memory is either a child or an amnesiac. A country without memory is neither a child nor an amnesiac, but neither is it a country." [on George S. Kaufman] "He was the kind of man I'd go over a cliff for." "There are five stages in the life of an actor: Who's Mary Astor? Get me Mary Astor. Get me a Mary Astor Type. Get me a young Mary Astor. Who's Mary Astor?" [on her Little Women (1949) co-stars] "The girls all giggled and chattered and made a game of every scene. Taylor [Elizabeth Taylor] was engaged, and in love, and talking on the telephone most of the time (which is fine normally, but not when the production clock is ticking away the company's money). June Allyson chewed gum constantly and irritatingly, and Maggie O'Brien [Margaret O'Brien] looked at me as though she were planning something very unpleasant." [on Greta Garbo] "I don't think Garbo with her clothes off, panting in a brass bed, would have been more sexy than she was." - Mary Astor |
Trivia:
After shooting Little Women (1949), Astor decided against renewing her contract with Metro-Goldwyn-Mayer as she had grown tired of playing humdrum mothers.
Thanked both Bette Davis and Pyotr Ilyich Tchaikovsky in her acceptance speech for the Best Supporting Actress Oscar for 1941 for The Great Lie (1941). Bette Davis was originally cast as Sandra Kovak, the hot-tempered but talented pianist, in The Great Lie (1941) but instead opted for the smaller role of Maggie Van Allen in a bid to let her good friend Astor save her film career. As a result, Astor won the Best Supporting Actress Oscar for her performance. Was almost fired from Dodsworth (1936) following the revelation of her affair with George S. Kaufman, but Samuel Goldwyn insisted she remain in the picture. She has appeared in six films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Red Dust (1932), Dodsworth (1936), The Prisoner of Zenda (1937), Midnight (1939), The Maltese Falcon (1941) and Meet Me in St. Louis (1944). In her book "A Life on Film," Mary Astor recalled that by the time the film Young Ideas (1943) came along, she was beginning to be disturbed about the direction her career was taking, having signed a term contract with MGM. She was pushed into a long line of what she called "Mothers for Metro", and when informed that in this film, she would be playing Susan Peters' mother, she thought, "Swell; what do I do as Susan Peters mother: change her diaper or console her because she wasn't asked to the prom?". |
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miriam hopkins(1902-1972)
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Miriam Hopkins, born Ellen Miriam Hopkins on October 18, 1902, in Bainbridge, Georgia, was an American actress known for her versatility, stage presence, and contributions to both film and theater. She enjoyed a career that spanned several decades and encompassed a wide range of roles in both dramatic and comedic films.
Early Life and Theater Beginnings: Miriam Hopkins grew up in a family with a background in theater and performing arts. She initially pursued a career in dance and theater before transitioning to film. Film Career: Hopkins made her film debut in the early 1930s and quickly gained recognition for her talent and screen presence. She was known for her ability to excel in both dramatic and comedic roles, showcasing her versatility. Pre-Code Era: During the pre-Code era of Hollywood (late 1920s to 1934), Hopkins appeared in films that explored more daring and controversial themes. Her performances in these films often showcased her willingness to take on complex and unconventional characters. Collaborations with Directors: Hopkins worked with prominent directors of her time, including Ernst Lubitsch and Rouben Mamoulian. Her collaborations with these filmmakers resulted in critically acclaimed performances. Range of Roles: Miriam Hopkins portrayed a wide range of characters, from seductive femmes fatales to spirited heroines. Her ability to convey a variety of emotions and personalities contributed to her reputation as a talented actress. Broadway and Stage Career: In addition to her film work, Hopkins had a successful career on Broadway and in theater. Her stage performances were well-received by audiences and critics alike. Acclaimed Films: Hopkins appeared in films such as "Dr. Jekyll and Mr. Hyde" (1931) and "Trouble in Paradise" (1932), both of which are considered classics of early Hollywood cinema. Later Career: Hopkins continued to act in films and on stage throughout the 1940s and beyond. Her later roles showcased her enduring talent and commitment to her craft. Personal Life: Miriam Hopkins was known for her dedication to her career and her desire for artistic expression. She was also involved in various social and political causes. Death: Miriam Hopkins passed away on October 9, 1972, at the age of 69, in New York City. Legacy: Miriam Hopkins' legacy is marked by her contributions to film, theater, and entertainment. Her ability to seamlessly transition between dramatic and comedic roles, her influence on early Hollywood cinema, and her dedication to her craft continue to be celebrated by fans and industry professionals. |
Miriam Hopkins made a notable contribution to pre-Code Hollywood through her performances in films that embraced the era's daring and provocative storytelling. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more explicit and controversial content in films before the enforcement of the strict Production Code. Hopkins' willingness to take on complex and challenging roles, as well as her ability to convey a wide range of emotions, made her a prominent figure in shaping the cinematic landscape of that time. Here's how Miriam Hopkins contributed to pre-Code Hollywood:
Versatility in Roles: Miriam Hopkins showcased her versatility by taking on a diverse array of characters, from seductive and femme fatale types to spirited and independent heroines. Her range of roles allowed her to explore different facets of the pre-Code era's narratives. Exploration of Taboos: Pre-Code Hollywood films often explored taboo subjects such as sexuality, infidelity, and unconventional relationships. Hopkins' performances in these films contributed to the era's willingness to challenge societal norms and address controversial themes. Complex Characters: Hopkins excelled in portraying complex characters who faced moral dilemmas and inner conflicts. Her ability to convey the inner struggles of her characters added depth to the narratives and resonated with audiences. Collaboration with Notable Directors: Hopkins worked with renowned directors like Ernst Lubitsch and Rouben Mamoulian, who were known for their innovative storytelling. Her collaborations with these directors elevated the quality of the films and her performances. Sensuality and Seduction: Miriam Hopkins' on-screen presence exuded sensuality and charisma, making her a natural fit for the era's exploration of seduction and desire. Her performances added a layer of intrigue and allure to the characters she portrayed. Dramatic Intensity: Hopkins had the ability to bring emotional intensity to her roles, heightening the impact of the films' dramatic moments. Her performances often resonated deeply with audiences, enhancing the overall viewing experience. Notable pre-Code films featuring Miriam Hopkins include: "Dr. Jekyll and Mr. Hyde" (1931) "The Story of Temple Drake" (1933) "Design for Living" (1933) "Trouble in Paradise" (1932) Miriam Hopkins' contribution to pre-Code Hollywood lies in her willingness to take on challenging and unconventional roles, her ability to convey complex emotions, and her collaborations with directors who were pushing the boundaries of storytelling. Her impact on the era's cinema is remembered for her dynamic performances that added depth and intrigue to the narratives of the time. |
Quotes:
"I'm a bad judge of a play or film. I turned down It Happened One Night (1934). It won Claudette Colbert an Oscar. I said it was just a silly comedy."
[on being directed in 'Virginia City' by Michael Curtiz] "(He was) a complete madman - mad and adorable. For twelve weeks he yelled at me and I yelled back at him. We're exactly alike." "TV is the toughest medium because there's more strain, but the theatre requires the most work. Movies are the easiest. You can sip coffee between takes." "Me temperamental? I never was. Proof of that is that I made four pictures with Willie Wyler, who is a very demanding director. I made two with Rouben Mamoulian who is the same. Two with Ernst Lubitsch, such a dear man." - Miriam Hopkins |
Trivia:
She was Margaret Mitchell's first choice to play Scarlett O'Hara in Gone with the Wind (1939).
Turned down the part of Ellie Andrews in It Happened One Night (1934). Claudette Colbert was then given the role and won a Best Actress Oscar for her performance. In July, 1972, despite concerns about her health and a premonition that she shouldn't travel, she flew to New York to attend the special screening of "Story of Temple Drake," celebrating the 60th anniversary of Paramount Pictures, followed by a gala party in her honor at the Museum of Modern Art. Just as she had feared, she suffered a major heart attack and died in her hotel suite before getting back to her California home. She has appeared in three films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Trouble in Paradise (1932), Becky Sharp (1935) and The Heiress (1949). In 1934, she was chosen by Cecil B. DeMille to play Delilah opposite Henry Wilcoxon as Samson, but the film was postponed for more than a decade. When DeMille finally started production on Samson and Delilah (1949), the role went to Hedy Lamarr. Had a long-running feud with Bette Davis that started before they even entered films, because of jealousy. They were both stage actresses with the same company where Hopkins had been the bigger star who first made it to Hollywood to become a star in films. They were both nominated for Best Actress Oscar in 1935, and Davis won and became the bigger star. She won her second Oscar for Jezebel (1938), which had been a flop on Broadway for Hopkins back in 1933. Davis had an affair with director Anatole Litvak, who at one point was married to Hopkins, although there have been conflicting reports whether the affair took place while he was still married to Hopkins. They competed with each other for screen time in the two films they acted together: The Old Maid (1939) and Old Acquaintance (1943). Long after Hopkins died, the only nice thing that Davis said about her was that she was a good actress, but otherwise she was a "real bitch". Director William Wyler cast her in four films that received Academy Award nominations: These Three (1936) and its remake The Children's Hour (1961), The Heiress (1949) and Carrie (1952). Was good friends with actress Kay Francis. In 1932, at a time when single-parent adoption was illegal in most states, she adopted a baby boy while between marriages. She adored her son, Michael, and always called him the most important man in her life. |
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myrna loy(1905-1993)
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Myrna Loy, born Myrna Adele Williams on August 2, 1905, in Radersburg, Montana, was an American actress who became known for her versatility, elegance, and enduring popularity during Hollywood's Golden Age. She is best remembered for her iconic roles in a variety of films, including comedies, dramas, and mysteries, and for her work in the Thin Man film series alongside William Powell.
Early Life and Career Beginnings: Myrna Loy's family moved frequently during her childhood due to her father's work in agriculture. She developed an interest in acting and began her career in local theater productions and small film roles. Breakthrough and Stardom: Loy gained recognition for her performances in silent films during the 1920s. However, her career truly took off with the advent of sound films. She displayed her wit, charm, and elegance in a wide range of roles, making her one of Hollywood's most sought-after actresses. "The Thin Man" Series: One of Loy's most iconic roles was as Nora Charles in "The Thin Man" series of films (beginning in 1934). Her sparkling chemistry with William Powell and her portrayal of the sophisticated and witty Nora endeared her to audiences and cemented her status as a Hollywood legend. Versatility: Myrna Loy's career spanned multiple genres, including comedies, dramas, musicals, and mysteries. She demonstrated her acting prowess by seamlessly transitioning between different roles and characters. Impact on Hollywood: Loy's portrayals often defied traditional gender roles. She was a model of modern womanhood, characterized by her intelligence, independence, and wit. Her ability to play strong, intelligent, and complex female characters resonated with audiences and contributed to changing perceptions of women in film. Social Activism: Loy was also known for her social and political activism. She was an advocate for civil rights, anti-fascism, and women's rights. Her commitment to these causes extended beyond her acting career. Later Career and Legacy: While her career in major Hollywood productions began to slow down in the 1950s, Loy remained active in film, television, and stage work. Her legacy endures through her impact on classic Hollywood cinema, her iconic roles, and her influence on future generations of actresses. Personal Life: Loy's personal life was marked by multiple marriages and relationships. She was known for her wit, intelligence, and sense of humor. Death: Myrna Loy passed away on December 14, 1993, at the age of 88, in New York City. Myrna Loy's contributions to film and her impact on Hollywood extend far beyond her roles. Her timeless elegance, versatility, and the positive portrayal of strong women in her films have left an indelible mark on cinema and continue to inspire audiences and artists to this day. |
Myrna Loy's impact on pre-Code Hollywood can be observed through her versatile performances in films that challenged societal norms, her portrayal of strong and independent female characters, and her ability to captivate audiences with her charm and elegance. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and provocative content in films before the enforcement of the strict Production Code. Myrna Loy's contributions during this time helped shape the era's cinematic landscape:
Challenging Gender Roles: Myrna Loy's characters in pre-Code films often defied traditional gender roles. She portrayed women who were intelligent, confident, and assertive, which was a departure from the more passive and submissive roles of earlier cinema. Complex and Empowered Characters: Loy's performances in pre-Code films showcased her ability to portray complex female characters who navigated a range of emotions and situations. Her characters were often ahead of their time, showing agency and making their own choices. Chemistry with Co-Stars: Loy's on-screen chemistry with her co-stars, such as William Powell in "The Thin Man" series, contributed to the popularity of her films. Her rapport with Powell added depth and authenticity to their characters' relationships. Versatility in Roles: Myrna Loy's pre-Code filmography spanned various genres, allowing her to demonstrate her versatility as an actress. From comedies to dramas, she showcased her ability to bring depth and authenticity to diverse roles. Romantic Freedom: The pre-Code era explored themes of love, romance, and sexuality more openly. Loy's performances often included romantic relationships that were characterized by mutual respect and equality, challenging traditional portrayals of romance. Social Critique: Many pre-Code films aimed to critique societal issues, and Myrna Loy's involvement in these films contributed to the era's exploration of topics such as infidelity, divorce, and women's independence. Positive Image of Women: Myrna Loy's characters often served as positive role models for women, reflecting a changing societal attitude towards the roles and capabilities of women in the early 20th century. Notable pre-Code films featuring Myrna Loy include: "The Animal Kingdom" (1932) "Thirteen Women" (1932) "The Mask of Fu Manchu" (1932) "Penthouse" (1933) Myrna Loy's impact on pre-Code Hollywood lies in her portrayal of empowered and multidimensional female characters that challenged traditional norms and paved the way for more diverse and complex representations of women in film. Her performances during this era contributed to the evolution of Hollywood's depiction of gender roles and relationships on screen. |
AFTER THE THIN MAN (1936)
ANIMAL KINGDOM, THE (1932)
ANOTHER THIN MAN (1939)
BACHELOR AND THE BOBBY-SOXER, THE (1947)
DEVIL TO PAY, THE (1930)
DOUBLE WEDDING (1937)
EVELYN PRENTICE (1934)
I LOVE YOU AGAIN (1940)
LIBELED LADY (1936)
LOVE CRAZY (1941)
MANHATTAN MELODRAMA (1934)
MASK OF FU MANCHU, THE (1932)
MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948)
NIGHT FLIGHT (1933)
PENTHOUSE (1933)
PRIZEFIGHTER AND THE LADY, THE (1933)
RAINS CAME, THE (1939)
SHADOW OF THE THIN MAN (1941)
SONG OF THE THIN MAN (1947)
STAMBOUL QUEST (1934)
THIN MAN, THE (1934)
THIN MAN GOES HOME, THE (1944)
THIRTEEN WOMEN (1932)
TOPAZE (1933)
WHEN LADIES MEET (1941)
WIFE VS. SECRETARY (1936)
WHIPSAW (1935)
ANIMAL KINGDOM, THE (1932)
ANOTHER THIN MAN (1939)
BACHELOR AND THE BOBBY-SOXER, THE (1947)
DEVIL TO PAY, THE (1930)
DOUBLE WEDDING (1937)
EVELYN PRENTICE (1934)
I LOVE YOU AGAIN (1940)
LIBELED LADY (1936)
LOVE CRAZY (1941)
MANHATTAN MELODRAMA (1934)
MASK OF FU MANCHU, THE (1932)
MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948)
NIGHT FLIGHT (1933)
PENTHOUSE (1933)
PRIZEFIGHTER AND THE LADY, THE (1933)
RAINS CAME, THE (1939)
SHADOW OF THE THIN MAN (1941)
SONG OF THE THIN MAN (1947)
STAMBOUL QUEST (1934)
THIN MAN, THE (1934)
THIN MAN GOES HOME, THE (1944)
THIRTEEN WOMEN (1932)
TOPAZE (1933)
WHEN LADIES MEET (1941)
WIFE VS. SECRETARY (1936)
WHIPSAW (1935)
Quotes:
[on her work with William Powell] "I never enjoyed my work more than when I worked with William Powell. He was a brilliant actor, a delightful companion, a great friend and, above all, a true gentleman."
"Life is not a having and a getting, but a being and a becoming." [on her "Perfect Wife" label, based on her work in The Best Years of Our Lives (1946)] "It was a role no one could live up to, really. No telling where my career would have gone if they hadn't hung that title on me. Labels limit you, because they limit your possibilities. But that's how they think in Hollywood." [Speaking in the late 1960s] "I admire some of the people on the screen today, but most of them look like everybody else. In our day we had individuality. Pictures were more sophisticated. All this nudity is too excessive and it is getting very boring. It will be a shame if it upsets people so much that it brings on the need for censorship. I hate censorship. In the cinema there's no mystery. No privacy. And no sex, either. Most of the sex I've seen on the screen looks like an expression of hostility towards sex." [Challenging MGM bosses in the 1930s] "Why does every black person in the movies have to play a servant? How about a black person walking up the steps of a courthouse carrying a briefcase?" [on Clark Gable]" He happened to be an actor, a damned good one, and nobody knew it--least of all Clark. Oh, he wanted to be an actor, but he always deprecated his ability, pretended it didn't matter. He was a really shy man with a terrible inferiority in there somewhere. Something was missing that kept him from doing the things he could have done." "I was glamorous because of magicians like George J. Folsey, James Wong Howe, Oliver Marsh, Ray June, and all those other great cinematographers. I trusted those men and the other experts who made us beautiful. The rest of it I didn't give a damn about. I didn't fuss about my clothes, my lighting, or anything else, but, believe me, some of them did." [on William Powell] "The later ones [the "Thin Man" pictures] were very bad indeed, but it was always a joy to work with Bill Powell. He was and is a dear friend and, in the early Thin Man films with [director W.S. Van Dyke], we managed to achieve what for those days was an almost pioneering sense of spontaneity." [on Burt Reynolds] "It's the man's tremendous wit that just keeps coming across. Listen, there is no acting style. Most people just play themselves. Spencer Tracy used to say to me after a scene, "Did I ham that one up?" If I said yes, he'd say, "Okay, let's do it again". There's that same honesty in Burt Reynolds. He's a throwback to the old school." [on Doris Day] "I have nothing but the best to say about Doris Day. She was wonderful to me, really lovely. She sent flowers when I started and remained friendly and attentive. As I've said, it's difficult when you start stepping down. You fight so hard to get to the top and then you realize it's time to gracefully give in a little. Doris, who was riding high then, never played the prima dona. I appreciated her attitude enormously." [In 1974] "When I was touring in "Don Juan in Hell," we played a college town near New Orleans. Paul [Paul Newman] happened to be there shooting The Drowning Pool (1975), so I went to see him that afternoon. I remember walking down a country road past every kid in town waiting to glimpse Paul Newman. When he saw me he rushed over, threw his arms around me, and kissed me, eliciting a collective swoon from those kids, who were probably wondering, "Who's that lucky old lady?" We went off and talked until they called him back to work." [In 1981, on her friend Joan Crawford] "Joan and I approached being movie stars in a different way. She liked to take limos everywhere; she was much "grander", for lack of a better word, and maybe I was much more down to earth, but so what? Joan certainly wasn't the only movie star who liked the champagne and limousine treatment. I can tell you that when you made a friend in Joan you had a friend for life. She never forgot your birthday, and you'd get a congratulatory note from her when good things happened in your life. She cared about people and her friends, no matter what anybody says. I liked her, and I miss her, and I think her daughter's stories are pure bunk. Even if they were true, if ever there was a girl who needed a good whack it was spoiled, horrible Christina [Christina Crawford]. Believe me, there were many times I wanted to smack her myself." [on Joan Crawford] "Joan never complained about her difficult children. Christina and Christopher made me glad I didn't have children." [on "The Thin Man" series ending] "It was the drinking. The characters drank too much, and for a while the public didn't seem to mind all the martinis and all the hangovers, but then, after a while, they did, or at least the studio maintained that was what happened." "William Powell had that marvelous subtlety that was so compatible with my style of acting. He was a very witty man, a great wit, and knew how to use it." "Initially in the movies, they cast me as an exotic. I had kind of slitty eyes. I didn't mind. I thought it was wonderful. The more exotic it was, the more it fit in with my background as a dancer. I certainly didn't look like Myrna Williams from Helena, Montana." "You know, the truth was, I wasn't the perfect wife in the movies. I was the wife everyone wanted, but not the quintessential wife. I was someone fun to be around, not the woman in the apron. Now, don't you think that's so much better?" - Myrna Loy |
Trivia:
Was supposedly the favorite star of famed outlaw John Dillinger. He came out of hiding to see Manhattan Melodrama (1934), in which she starred, and was gunned down by police upon leaving the theater.
Appeared in the first feature film with synchronized sound (Don Juan (1926)) and first feature film with audible dialog (The Jazz Singer (1927)). In 1936 Myrna was named Queen of the Movies and Clark Gable King in a national poll, winning a crown of tin and purple velvet. in her autobiography, she says that she did not get on with Gable in her earlier films with him. However, in her later films he developed a respect for Loy and they became good friends. When her father was travelling by train in early 1905, he went through a small station called 'Myrna' - he eventually named her after that station. In 1939, Myrna had a narrow escape when her horse bolted during the filming of The Rains Came (1939) with Tyrone Power; she was nearly killed. If her cameo in The Senator Was Indiscreet (1947) is counted, Loy co-starred with William Powell 14 times: Manhattan Melodrama (1934), The Thin Man (1934), Evelyn Prentice (1934), The Great Ziegfeld (1936), Libeled Lady (1936), After the Thin Man (1936), Double Wedding (1937), Another Thin Man (1939), I Love You Again (1940), Love Crazy (1941), Shadow of the Thin Man (1941), The Thin Man Goes Home (1944), and Song of the Thin Man (1947). She appeared in two Best Picture Academy Award winners: The Great Ziegfeld (1936) and The Best Years of Our Lives (1946). Turned down the role of Ellie Andrews in It Happened One Night (1934). Claudette Colbert was given the part and went on to win the Best Actress Oscar for her performance. Loy and Clark Gable co-starred in seven feature films: Night Flight (1933), Men in White (1934), Manhattan Melodrama (1934), Wife vs. Secretary (1936), Parnell (1937), Test Pilot (1938), and Too Hot to Handle (1938). They also both appeared, uncredited, as extras in Ben-Hur: A Tale of the Christ (1925). Loy and Cary Grant co-starred in three feature films: Wings in the Dark (1935), The Bachelor and the Bobby-Soxer (1947), and Mr. Blandings Builds His Dream House (1948). |
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norma shearer(1902-1983)
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Norma Shearer, born Edith Norma Shearer on August 10, 1902, in Montreal, Quebec, Canada, was a Canadian-American actress who achieved stardom in Hollywood's Golden Age. She is known for her versatile acting skills, glamorous persona, and her significant contributions to the film industry during the early 20th century.
Early Life and Entry into Acting: Norma Shearer was raised in a show business family, and her interest in acting was nurtured from a young age. She began her career in silent films and gained attention for her beauty and charisma. Rise to Stardom: Shearer's talent and charm led to her transition to sound films in the late 1920s. She quickly rose to stardom with her roles in various films, showcasing her versatility in both dramatic and comedic roles. Metro-Goldwyn-Mayer (MGM): Shearer signed a contract with MGM, where she became one of the studio's leading actresses. She was known for her professionalism, dedication to her craft, and her collaboration with prominent directors and actors of the time. Diverse Range of Roles: Norma Shearer's filmography includes a wide range of genres, from romantic comedies to dramas. She was known for her ability to convey emotional depth and authenticity in her performances. Acclaim and Awards: Shearer's performances earned her critical acclaim and numerous award nominations. She won the Academy Award for Best Actress for her role in "The Divorcee" (1930), further solidifying her status as a respected actress. Pre-Code Films: Shearer's pre-Code films allowed her to take on daring and complex roles that explored themes of sexuality, relationships, and societal expectations. These films showcased her willingness to tackle bold and provocative subjects. Marriage to Irving Thalberg: Shearer's marriage to MGM producer Irving Thalberg was one of Hollywood's most prominent unions. Thalberg's influence played a role in shaping her career choices and the films she starred in. Later Career and Retirement: After the mid-1930s, Shearer's roles became less frequent, and she eventually retired from acting in 1942. She devoted her time to her family and other pursuits. Legacy: Norma Shearer's legacy endures through her contributions to classic Hollywood cinema. Her performances, particularly in pre-Code films, challenged societal norms and pushed boundaries, leaving a lasting impact on the representation of women on screen. Death: Norma Shearer passed away on June 12, 1983, at the age of 80, in Woodland Hills, California. Norma Shearer's elegance, talent, and willingness to take on roles that addressed complex and controversial themes contributed to her enduring legacy in the film industry. She remains an icon of Hollywood's Golden Age, remembered for her significant contributions to the art of acting and her influence on the evolution of cinema. |
Norma Shearer had a notable impact on pre-Code Hollywood through her willingness to take on daring and challenging roles that explored provocative themes, as well as her portrayal of complex and empowered female characters. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more explicit and controversial content in films before the enforcement of the strict Production Code. Shearer's contributions during this time helped shape the era's cinematic landscape:
Exploration of Taboos: Shearer's pre-Code films often delved into themes such as sexuality, adultery, and societal norms. Her performances in these films contributed to the era's willingness to tackle controversial subjects. Empowered Female Characters: Shearer's roles in pre-Code films often portrayed women who were assertive, independent, and unafraid to challenge the status quo. Her characters were multidimensional and reflected changing attitudes towards women's roles. Challenging Relationship Dynamics: Many of Shearer's pre-Code films explored unconventional and complex relationship dynamics, including extramarital affairs and open discussions of sexuality. These films challenged traditional norms and explored the complexities of human emotions. Variety of Genres: Shearer's willingness to take on roles in a variety of genres, from romantic comedies to dramas, showcased her versatility as an actress. Her performances added depth and authenticity to the characters she portrayed. Oscar-Winning Performance: Shearer's role in "The Divorcee" (1930) earned her the Academy Award for Best Actress. The film dealt with themes of infidelity and empowerment, reflecting the pre-Code era's exploration of women's agency. Collaboration with Directors: Shearer worked with renowned directors who were pushing the boundaries of storytelling during the pre-Code era. Her collaborations with these directors contributed to the quality and impact of the films. Personal Transformation: Shearer's performances in pre-Code films often involved characters who underwent personal transformations, both emotionally and morally. Her ability to convey these changes added depth to the narratives. Notable pre-Code films featuring Norma Shearer include: "The Divorcee" (1930) "A Free Soul" (1931) "Private Lives" (1931) "Strangers May Kiss" (1931) Norma Shearer's impact on pre-Code Hollywood lies in her portrayal of strong and complex female characters and her willingness to participate in films that pushed the boundaries of acceptability and explored new narrative territories. Her performances contributed to the era's exploration of societal norms and relationships, leaving a lasting imprint on the history of cinema. |
Quotes:
"Scarlett O'Hara is going to be a thankless and difficult role. The part I'd like to play is Rhett Butler."
"I get whatever placidity I have from my father. But my mother taught me how to take it on the chin." "It is impossible to get anything made or accomplished without stepping on some toes; enemies are inevitable when one is a doer." "The morals of yesterday are no more. They are as dead as the day they were lived. Economic independence has put woman on exactly the same footing as man." "Never let them see you in public after you've turned 35. You're finished if you do!" - Norma Shearer |
Trivia:
She converted to Judaism in 1927 in order to marry Irving Thalberg. Even after he died, she continued to observe Judaism until her own death in 1983.
She would not remove her wedding ring for a role, preferring to cover it up with flesh-colored tape. She is one of the celebrities whose picture Anne Frank placed on the wall of her bedroom in the "Secret Annex" while in hiding during the Nazi occupation of Amsterdam. Six years after the death of first husband Irving Thalberg, she married a ski instructor 11 years her junior and retired from the screen forever. Even after retirement, Norma maintained her interest in the film industry. While staying at a ski lodge, she noticed a photo of the receptionist's daughter and recommended her to MGM - that girl, became the star known as Janet Leigh. She also discovered a handsome young businessman beside a swimming pool - now actor/producer Robert Evans. Said to have been a major influence on the life of Eva Perón after Peron saw her in the role of Marie Antoinette. Was the 3rd actress to receive an Academy Award; she won the Best Actress Oscar for The Divorcee (1930) at The 3rd Academy Awards on November 5, 1930. Turned down the role of Scarlett O'Hara in Gone with the Wind (1939) and the title role in Mrs. Miniver (1942). Was offered the role of Norma Desmond in Sunset Blvd. (1950), but she turned it down. Gloria Swanson, who went on to receive a Best Actress Oscar nomination for her performance, was cast instead. Norma Shearer was considered by her peers as the Queen of MGM Studios. Regarding Shearer's marriage to studio boss Irving Thalberg, Joan Crawford allegedly said, "Sure Norma gets all the good parts. She sleeps with the boss...". Co-starred with Robert Montgomery in five MGM films: Their Own Desire (1929), The Divorcee (1930), Strangers May Kiss (1931), Private Lives (1931), and Riptide (1934). Starred in five Oscar Best Picture nominees: The Hollywood Revue of 1929 (1929), The Divorcee (1930), Smilin' Through (1932), The Barretts of Wimpole Street (1934) and Romeo and Juliet (1936). She was nominated for Best Actress in three of these: The Divorcee (which she won), The Barretts of Wimpole Street and Romeo and Juliet. Nora Shearers contract stipulated that she would only share top building with a male co star but she agreed to having Joan Crawfords name with hers above the title on The Women, When she refused to grant Rosalind Russell' the same request on the film The Women Russell staged a sickout and didn't return until Norma gave in.. She was Oscar nominated 6 times. |
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ruth chatterton(1892-1961)
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Ruth Chatterton, born on December 24, 1892, in New York City, was an American actress and writer who made significant contributions to both the stage and screen during the early 20th century. She was known for her versatility, charm, and talent, and she enjoyed success in various genres, including dramas and comedies.
Early Life and Theater Beginnings: Ruth Chatterton's interest in acting was sparked at a young age, and she began her career in theater before transitioning to film. She gained experience on stage and honed her acting skills before entering the world of cinema. Film Career: Chatterton's talent quickly gained attention in the film industry. She made her screen debut in the silent film "Sins of the Fathers" (1928) and quickly became a leading lady in both silent and sound films. Versatility and Success: Chatterton's versatility allowed her to excel in a range of roles, from dramatic and tragic characters to comedic and lighthearted roles. Her performances earned her critical acclaim and popularity among audiences. Pre-Code Era: Chatterton's career coincided with the pre-Code era (late 1920s to 1934), allowing her to take on daring and provocative roles that addressed controversial themes, including sexuality and societal norms. Transition to Talkies: Chatterton successfully transitioned to talkies and showcased her talent for both spoken dialogue and physical expression. Her ability to adapt to new technology and continue delivering captivating performances contributed to her enduring popularity. Acclaimed Films: Chatterton appeared in notable films such as "Madame X" (1929) and "Sarah and Son" (1930), earning praise for her emotional depth and compelling portrayals. Writing and Later Career: In addition to her acting career, Ruth Chatterton was a published author. She wrote novels, plays, and articles. Later in her career, she also returned to the stage, demonstrating her continued dedication to the arts. Personal Life and Advocacy: Chatterton was known for her strong personality and assertiveness. She was also an advocate for various causes, including animal welfare and women's rights. Legacy: Ruth Chatterton's contributions to both stage and screen, her versatility as an actress, and her willingness to take on challenging and controversial roles left a lasting impact on the entertainment industry. Death: Ruth Chatterton passed away on November 24, 1961, at the age of 68, in Norwalk, Connecticut. Ruth Chatterton's legacy endures through her performances in films that challenged societal norms, her contributions to the pre-Code era, and her dedication to the arts both on screen and in writing. She remains a notable figure in the history of early Hollywood cinema. |
Ruth Chatterton had a significant impact on pre-Code Hollywood through her willingness to take on daring and complex roles that explored controversial themes and challenged societal norms. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more explicit and provocative content in films before the enforcement of the strict Production Code. Chatterton's contributions during this time helped shape the era's cinematic landscape:
Exploration of Taboos: Ruth Chatterton's pre-Code films often delved into themes considered taboo at the time, such as extramarital affairs, sexuality, and societal expectations. Her performances in these films contributed to the era's exploration of controversial subjects. Emotionally Complex Characters: Chatterton's roles in pre-Code films often involved emotionally complex characters who faced moral dilemmas and personal struggles. Her ability to convey these complexities added depth to the narratives. Strong and Independent Women: Chatterton frequently portrayed strong and independent female characters who defied traditional gender roles. Her performances showcased women who took charge of their lives and made their own choices. Collaboration with Directors: Ruth Chatterton worked with notable directors of her time who were pushing the boundaries of storytelling. Her collaborations with these directors contributed to the quality and impact of the films. Versatility in Genres: Chatterton's willingness to take on a range of genres, from dramas to comedies, demonstrated her versatility as an actress. Her performances resonated with audiences, regardless of the genre. Provocative Roles: Chatterton's pre-Code films often featured characters engaged in morally ambiguous actions, reflecting the era's willingness to depict characters with shades of gray. Social Commentary: Many pre-Code films served as a commentary on societal issues of the time. Chatterton's involvement in these films contributed to the era's exploration of evolving attitudes and norms. Notable pre-Code films featuring Ruth Chatterton include: "Sarah and Son" (1930) "Madame X" (1929) "Female" (1933) "Journal of a Crime" (1934) Ruth Chatterton's impact on pre-Code Hollywood lies in her portrayal of complex and empowered women who navigated societal expectations and challenges. Her performances contributed to the era's evolution of cinematic storytelling, pushing boundaries and addressing issues that were ahead of their time. Her willingness to take on provocative roles added depth and nuance to the era's narratives and continues to be celebrated by film enthusiasts today. |
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"Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets."
"The most exciting thing about acting is to feel good in what you're doing and make something that I think is interesting to watch." "The more you work, the more you learn, and the more you learn, the better you get." "Every actor and actress is possessed of the absorbing passion to create something distinctive and unique." - Ruth Chatterton |
Trivia:
She directed Broadway plays beginning in the 1920s, and translated French works for the American stage. She was also a licensed pilot who flew her own plane cross-country.
Counting unofficial nominations, is the first person to receive two consecutive Academy Award acting nominations for her performances. She was nominated for Best Actress for Madame X (1929) and Sarah and Son (1930). In 1930 she was considered for the role of Nancy in a possible MGM film version of Charles Dickens' "Oliver Twist," but the studio never made the film. It would have been the first sound version of a Dickens novel. |
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sylvia sidney(1910-1999)
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Sylvia Sidney, born Sophia Kosow on August 8, 1910, in The Bronx, New York City, was an American actress known for her distinctive voice, intense performances, and contributions to film, theater, and television. She enjoyed a career that spanned several decades, and she was celebrated for her roles in both dramatic and romantic films.
Early Life and Acting Beginnings: Sylvia Sidney's interest in acting developed at an early age. She began her career in the theater and made her Broadway debut at the age of 15. Her talent and stage presence caught the attention of Hollywood scouts. Film Career: Sidney's film career began in the early 1930s, and she quickly established herself as a versatile and talented actress. Her performances often conveyed emotional depth and authenticity. Early Roles: Sidney's early roles showcased her ability to portray characters with vulnerability and resilience. She often played women facing challenging circumstances and personal struggles. Pre-Code Era: During the pre-Code era (late 1920s to 1934), Sidney appeared in films that explored provocative and controversial themes. Her willingness to take on roles that delved into social issues and emotional complexities contributed to the era's evolving cinematic landscape. Collaborations with Directors: Sidney worked with renowned directors who appreciated her acting skills. Her collaborations with filmmakers like Fritz Lang and Alfred Hitchcock resulted in memorable performances. "Street Scene": One of Sidney's most notable roles was in the film adaptation of the play "Street Scene" (1931), directed by King Vidor. Her performance earned her critical acclaim and solidified her reputation as a talented actress. Later Career: Sidney continued to act in films, theater productions, and television throughout her career. Her appearances in various media showcased her enduring talent and dedication to her craft. Voice Work: Sidney's unique voice became one of her trademarks. Her distinctive vocal quality added depth to her performances and contributed to her memorable on-screen presence. Legacy: Sylvia Sidney's contributions to film and the arts have left a lasting legacy. Her performances, particularly during the pre-Code era, showcased her ability to convey complex emotions and narratives. Personal Life: Sidney's personal life was marked by relationships, including a brief marriage to actor Luther Adler. She was known for her dedication to her career and her commitment to her craft. Death: Sylvia Sidney passed away on July 1, 1999, at the age of 87, in New York City. Sylvia Sidney's impact on the entertainment industry is remembered through her compelling performances, her contributions to classic Hollywood cinema, and her role in shaping the depiction of complex and relatable characters on screen. |
Sylvia Sidney made a significant contribution to pre-Code Hollywood films by taking on roles that explored provocative themes and complex emotions. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more daring and controversial content in films before the enforcement of the strict Production Code. Sidney's willingness to embrace characters and narratives that delved into social issues and emotional complexities played a crucial role in shaping the era's cinematic landscape:
Exploration of Social Issues: Many pre-Code films addressed societal issues and taboos, and Sylvia Sidney's roles often revolved around characters caught in challenging circumstances. Her performances helped shed light on issues such as poverty, relationships, and urban life. Vulnerability and Resilience: Sidney's characters often displayed vulnerability and resilience in the face of adversity. Her ability to convey these emotions added depth and authenticity to her performances. Emotional Intensity: Sidney's pre-Code roles required her to tap into intense and complex emotions, allowing her to portray characters grappling with personal conflicts and moral dilemmas. Collaboration with Notable Directors: Sidney worked with directors who were known for their innovative storytelling and exploration of psychological themes. Her collaborations with filmmakers like Fritz Lang and Alfred Hitchcock enhanced the impact of the films. Character Transformation: Many of Sidney's pre-Code characters underwent personal transformation throughout the course of the films. Her portrayal of these transformations resonated with audiences and contributed to the narratives. Romantic and Dramatic Roles: Sidney's pre-Code filmography included a range of roles, from romantic leads to characters facing emotional turmoil. Her versatility as an actress allowed her to excel in various genres. Empathy and Relatability: Sidney's performances often evoked empathy from audiences, as her characters were relatable individuals facing challenges that reflected the realities of the time. Notable pre-Code films featuring Sylvia Sidney include: "City Streets" (1931) "Street Scene" (1931) "An American Tragedy" (1931) "Merrily We Go to Hell" (1932) Sylvia Sidney's contribution to pre-Code Hollywood lies in her ability to portray characters that mirrored the complexities of the era, tackling societal issues and emotional struggles with authenticity. Her willingness to take on challenging roles and her performances that captured the essence of the time continue to be celebrated by film enthusiasts and scholars alike. |
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"Every young actress thinks she's a tragedian -- the more tragic roles, the more you cry, the more you suffer, the better an actress you are. But, when I got a little older, a little more mature, I wanted to get out of my image of "the victimized kid." I began to say, "Wait a minute. There's a thing called comedy that takes an even rougher intelligence and more technique and knowledge of the craft."
"I'd be the girl of the gangster... then the sister who was bringing up the gangster... then the mother of the gangster... and they always had me ironing somebody's shirt." "What did Hitchcock teach me? To be a puppet and not try to be creative." "Prima donnas in anything are bad... Having a child was a great leveling agent. Those babies couldn't care less that their parents were famous." "What's the use of talking about a favorite role if you can't get it... The role you're doing ought to be your favorite. If you don't like a part it's probably because you've a feeling of inadequacy about it." "Women who try to hide their age just call attention to it. Why lie about it? I don't feel any younger... I don't look any younger. Somebody finds out about your real age eventually. It's easier to be frank about it... I've enjoyed every age in my life. I've never wanted to go back." [on realizing she could refuse unsuitable roles] "When I realized I didn't have to, I became a bitch on wheels." [on her unhappy experience working with William Wyler] "(He) made me feel so inadequate. More than anybody else, I think, he was responsible for sending me back to the stage to try to regain my security as an actress." "Spencer Tracy was very special. He was not only a great actor, but he listened as well. Tacy would say, 'Acting to me is always reacting!' Tracy and [Henry] Fonda could be in long scenes where they didn't say anything. But you knew they were listening and *hearing* the dialogue." [on Henry Fonda] "With Fonda you didn't steal scenes. He was a wonderful actor." [on Fritz Lang] "A very strange man, [but] a wonderful man. I just adored him." - Sylvia Sidney |
Trivia:
Was a lifetime smoker, enjoying smoking until the end of her life. She smoked even when she was on chemotherapy to treat her cancer. Her trademark raspy voice was of course, due to a lifetime of smoking.
She played the tragic, non-singing Cio-Cio San in the film Madame Butterfly (1932) which led to a brand of Japanese condoms being named the "Sylvia Sidneys". Seeing herself as a screaming witness in her first film Thru Different Eyes (1929) made her scream in the audience and cancel her Fox contract. Turned down the Casbah Girl lead in Algiers (1938) opposite Charles Boyer. Hedy Lamarr went on to fame in the role. |
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una merkel(1903-1986)
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Una Merkel, born on December 10, 1903, in Covington, Kentucky, was an American actress known for her versatile talents and charming performances in film, theater, and television. She became a beloved character actress during Hollywood's Golden Age, known for her comedic timing, Southern charm, and distinctive voice.
Early Life and Acting Beginnings: Una Merkel's interest in acting developed at a young age, and she began her career in local theater productions. Her talent caught the attention of Hollywood scouts, leading her to a career in film. Film Career: Merkel's film debut came in the late 1920s, and she quickly established herself as a versatile and reliable actress. She appeared in a wide range of roles, from leading ladies to supporting characters. Comedic Prowess: One of Merkel's strengths was her comedic timing and ability to deliver humor with authenticity. She often played characters with a down-to-earth, relatable quality that endeared her to audiences. Supporting Roles: Merkel's versatility made her a sought-after character actress. She excelled in supporting roles that added depth and humor to the films she appeared in. Pre-Code Era: Merkel's career intersected with the pre-Code era (late 1920s to 1934), allowing her to take on roles that embraced daring and provocative narratives. Her characters often added a touch of comedic relief to the films. Collaboration with Stars: Merkel appeared alongside some of the era's biggest stars, including Clark Gable, Jean Harlow, and Joan Crawford. Her interactions with co-stars often added to the entertainment value of the films. Broadway and Theater Work: In addition to her film work, Una Merkel had a presence on Broadway and the stage. Her theater performances showcased her range as an actress. Later Career and Television: Merkel's career extended into television as the entertainment landscape evolved. She continued to act in both film and TV, remaining a recognizable face to audiences. Distinctive Voice: Merkel's distinctive Southern accent and unique voice added to her charm and made her performances memorable. Personal Life: Una Merkel's personal life was relatively private, and she focused on her career in entertainment. Death: Una Merkel passed away on January 2, 1986, at the age of 82, in Los Angeles, California. Una Merkel's legacy is marked by her numerous memorable performances, her impact on classic Hollywood cinema, and her ability to infuse her characters with humor, warmth, and relatability. Her contributions to film, theater, and television continue to be celebrated by audiences and film enthusiasts. |
Una Merkel made a notable impact on pre-Code Hollywood through her versatile acting abilities and her contributions to a variety of films that embraced the era's willingness to explore daring and controversial themes. The pre-Code era, which lasted from the late 1920s to 1934, allowed for more explicit and provocative content in films before the enforcement of the strict Production Code. Merkel's roles during this time played a crucial role in shaping the era's cinematic landscape:
Comic Relief: Una Merkel's comedic talents were frequently utilized in pre-Code films to provide humor and lightheartedness. Her ability to deliver witty lines and engage in comedic situations added entertainment value to the films. Supporting Characters: Merkel often played supporting characters that contributed depth and authenticity to the narratives. Her relatable and down-to-earth presence made her characters more relatable to audiences. Variety of Genres: Merkel's versatility allowed her to excel in a range of genres, from comedies to dramas. Her performances resonated with audiences regardless of the genre. Collaboration with Leading Actors: Merkel frequently acted alongside leading actors of the time, showcasing her ability to hold her own in scenes with prominent stars. Her interactions with co-stars added to the dynamic of the films. Embracing Provocative Content: Pre-Code films often explored taboo subjects, and Merkel's involvement in such films demonstrated her willingness to take on roles that addressed controversial themes. Character Complexity: Even in comedic roles, Merkel's characters often had depth and complexity, contributing to the overall narrative quality of the films. Romantic Subplots: Merkel's characters were sometimes involved in romantic subplots that were more overt and candid compared to later films. This contributed to the era's exploration of relationships and sexuality. Notable pre-Code films featuring Una Merkel include: "42nd Street" (1933) "Baby Face" (1933) "The Maltese Falcon" (1931) "The Merry Widow" (1934) Una Merkel's impact on pre-Code Hollywood lies in her ability to enhance films with her comedic skills, her versatility as a supporting actress, and her contributions to the era's exploration of themes that pushed boundaries. Her presence added charm and authenticity to the films of the time, contributing to the overall richness of the cinematic landscape. |
Quotes:
[on W.C. Fields] "Yes, I remember the first day I worked with him; he was two hours late to the set. He was due at 9 and came in at 11, and he'd had quite a night the night before, I guess. The first scene was all of us sitting around the table--- I was his daughter; I was supposed to say, "Good morning, Pater," and kiss him. So in the rehearsal he apologized because you could smell the alcohol, and I said, "Mr. Fields, on you it smells like Chanel No. 5," and he said, "Honey, you're in!" From then on, he was just wonderful to me. He was a pretty grand person...If he thought a scene was too long, he'd take a couple of pages and tear them off. "That's enough; I'm not going to remember any more. You had to be pretty quick to keep up with him, but it was fun. It was never a strain."
[on Hope and Crosby] "There was a New York actress who was supposed to be in that. I've had more things happen overnight, not expect to do them , and then all of a sudden somebody calls up. The best things I've ever gotten have been that way. And Paramount called me and asked me to come in, and I started work the day after they called me, because they had decided that this woman was not going to be right for the part. The atmosphere on the film was wonderful; they were like a couple of bad kids." [0n "Destry Rides Again"] "Well, it was very funny. I had never met Miss Dietrich until that day, and they outlined exactly what places they'd like is to hit on the set. We were not supposed to do anything but a few feet, and they had the stunt girls there to take over. But Mr. Marshall said, "Once you get started on this, just keep going as long as you can; don't worry. the camera will follow you." We did the whole thing, and we turned our checks over to the stunt girls!. We did the whole battle, and then at the end Jimmy Stewart came over and dumped a pail of water over our heads. We had to do it over again for close-ups, and do it for "Life" magazine... I went to the hospital after that picture. I finished it, but I was a mess of bruises, because I had little fat heels on, and Marlene had high spiked heels. All through the fight scene we were whispering to each other, "Are you all right?" "Can you finish it?" "Are you OK?" We did it in one continuous take. I thought they'd never call "Cut." [on favorite directors] "So many of the directors were so wonderful, and I think a picture took its tone from the director. I can't remember anyone I worked with I didn't like, but the man who directed "Reunion in Vienna" and "Private Lives" I thought was a genius, Sidney Franklin. George Marshall was another one." - Una Merkel |
Trivia:
Was originally signed for the title role in Blondie (1938) but was replaced before filming began.
During the filming of True Confession (1937) she rescued a movie property man Arthur Camp from drowning at Lake Arrowhead, California, when the backwash from her motorboat upset his skiff. She caught his suspenders with a boat hook and held him until help arrived from the shore. Camp was unable to swim. Merkel appeared in both versions of "The Merry Widow (1934)" with Jeanette Macdonald and Maurice Chevalier and more than seventeen years later "The Merry Widow (1952)" with Lana Turner and Fernando Lamas in different roles. D. W. Griffith had Merkel take a test to play Mary Todd in his version of "Abraham Lincoln," and United Artists signed her to a one year contract. However, when she arrived to start shooting, he decided that he now wanted her to play Ann Rutledge. Kay Hammond ultimately played the First Lady. Most of her roles was being good friend of the leading actress. She almost died on March 5, 1945 when her mother, Bess Merkel, committed suicide by turning on the gas. Her suicide note was personalized to Una's husband, Robert Burla, whom she affectionately addressed as "Bid". |