The Women of Pre-code Hollywood (part I)
The Women who pushed the boundaries of moral, social, and artistic conventions
Part I: Ann Dvorak, Ann Harding, Anna May Wong, Barbara Stanwyck, Bebe Daniels, Bette Davis, Carole Lombard, Clara Bow, Constance Bennett,
Fay Wray, Ginger Rogers, Glenda Farrell, Greta Garbo, Helen Twelvetrees, Irene Dunne
Fay Wray, Ginger Rogers, Glenda Farrell, Greta Garbo, Helen Twelvetrees, Irene Dunne
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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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ann dvorak(1911-1979)
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Ann Dvorak, born Anna McKim on August 2, 1911, was an American actress who achieved fame during the Golden Age of Hollywood. She appeared in numerous films during the 1930s and 1940s and was known for her versatility and talent as an actress.
Dvorak was born in New York City to silent film actress Anna Lehr and actor/director Edwin McKim. Her parents divorced when she was very young, and she was primarily raised by her mother. Growing up in a showbiz family, she had early exposure to the entertainment industry. She made her film debut at the age of 5 in "Scarlet Days" (1919), a film directed by her father. However, her acting career didn't take off until the 1930s when she was signed by Warner Bros. under the name Ann Dvorak. She quickly became a prominent actress and was often cast in both leading and supporting roles. Some of her notable films from the 1930s include "Scarface" (1932), where she played the sister of Paul Muni's character; "Three on a Match" (1932), alongside Joan Blondell and Bette Davis; and "Heat Lightning" (1934), among others. Dvorak's performances were well-received, and she was praised for her range and emotional depth. Despite her talent, Dvorak struggled to break free from typecasting and conflicts with the studio system. She wanted more challenging roles and often felt frustrated by the roles she was assigned. In 1936, she tried to break her contract with Warner Bros., leading to a legal battle that affected her career negatively. During the 1940s, Dvorak continued to work in films, but her career wasn't as prominent as it had been in the previous decade. She appeared in movies like "I Was an American Spy" (1951) and "The Secret of Convict Lake" (1951). However, she eventually turned her focus to television and theater work. In the mid-1950s, Dvorak largely retired from acting and chose to focus on her personal life. She married and had a family, enjoying a quieter existence away from the spotlight. Despite her relatively brief career, she left a lasting impact on classic Hollywood cinema. Ann Dvorak passed away on December 10, 1979, at the age of 68. While she might not be as well-remembered as some of her contemporaries, her contributions to film during the 1930s and her performances in notable films have solidified her place in Hollywood history. |
Ann Dvorak made a significant impact on pre-code films during the early 1930s.
Dvorak's roles in pre-code films showcased her versatility and willingness to take on challenging and provocative characters. Some of her most notable contributions to the pre-code era include:
"Scarface" (1932): In this crime drama, directed by Howard Hawks and produced by Howard Hughes, Dvorak played Cesca Camonte, the sister of the protagonist, Tony Camonte (played by Paul Muni). Her portrayal of a troubled and conflicted woman, caught in the violent world of her gangster brother, added depth to the film and garnered critical acclaim. "Three on a Match" (1932): This Pre-Code drama featured Dvorak alongside Joan Blondell and Bette Davis. Dvorak played the troubled and reckless Vivian Revere, a woman whose self-destructive behavior leads her down a dark path. The film tackled subjects like drug addiction, infidelity, and crime, which were considered controversial at the time. "Heat Lightning" (1934): In this pre-code crime drama, Dvorak starred as Olga, a gas station attendant and the wife of a man with a criminal past. The film explored themes of jealousy and betrayal and presented Dvorak with another complex and challenging role. These roles demonstrated Ann Dvorak's willingness to take on unconventional characters and her ability to portray them with depth and authenticity. She wasn't afraid to tackle controversial themes, and her performances added an extra layer of realism to the pre-code films she appeared in. The pre-code era, in general, allowed for greater artistic freedom in filmmaking, and Dvorak's contributions to these films helped push the boundaries of what was considered acceptable onscreen. While the enforcement of the Hays Code in 1934 led to a more conservative approach in Hollywood, the pre-code films and the performances of actresses like Ann Dvorak remain significant in the history of cinema for their boldness and willingness to explore complex and daring themes. |
BLIND ALLEY (1939)
CROWD ROARS, THE (1932)
DANCE, FOOLS, DANCE (1931)(UC)
G-MEN (1935)
HEAT LIGHTING (1934)
I SELL ANYTHING (1934)
LONG NIGHT, THE (1947)
LOVE IS A RACKET (1932)
MIDNIGHT ALIBI (1934)
OUT OF THE BLUE (1947)
SCARFACE (1932)
SECRET OF CONVICT LAKE, THE (1951)
STRONGER THAN DESIRE (1939)
THIS WAS PARIS (1941)
THREE ON A MATCH (1932)
WALLS OF JERICHO, THE (1948)
WE WHO ARE ABOUT TO DIE (1936)
CROWD ROARS, THE (1932)
DANCE, FOOLS, DANCE (1931)(UC)
G-MEN (1935)
HEAT LIGHTING (1934)
I SELL ANYTHING (1934)
LONG NIGHT, THE (1947)
LOVE IS A RACKET (1932)
MIDNIGHT ALIBI (1934)
OUT OF THE BLUE (1947)
SCARFACE (1932)
SECRET OF CONVICT LAKE, THE (1951)
STRONGER THAN DESIRE (1939)
THIS WAS PARIS (1941)
THREE ON A MATCH (1932)
WALLS OF JERICHO, THE (1948)
WE WHO ARE ABOUT TO DIE (1936)
Quotes:
[when asked how her last name is pronounced] "My name is properly pronounced "vor'shack". The D remains silent. I have had quite a time with the name, having been called practically everything from Balzac to Bickelsrock."
[July 18, 1932] "I don't want to go back to Hollywood if I can help it. I want to go back to the stage. The trouble with Hollywood is everybody is crazy for money. The producers are trying to make pictures cheaper and faster. They do not realize the public is becoming more critical, and can see the cheapness." - Ann Dvorak |
Trivia:
Attempted to have her Warner Brothers contract terminated over financial issues, after finding out that she made the same money as the five-year-old who played her son in Three on a Match (1932).
Moved to England during World War II and, between film gigs, worked as an ambulance driver to support the war effort. Her friend Joan Crawford was the one who introduced her to Howard Hughes, who in turn was looking for a girl for his production of Scarface (1932). She made $250 a week. She made her film debut when she was five years old in the silent film version of Ramona (1916), credited as "Baby Anna Lehr". She continued in children's roles in The Man Hater (1917) and Five Dollar Plate (1920), but then stopped acting in films. |
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Ann Harding(1902-1981)
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Ann Harding was born on August 7, 1901, in Fort Sam Houston, Texas, USA, as Dorothy Walton Gatley. She began her acting career on Broadway in the 1920s and gained recognition for her performances in various theatrical productions. Her breakthrough role came in the play "The Trial of Mary Dugan" (1927), which established her as a promising actress.
In the early 1930s, Ann Harding made a successful transition to the silver screen. She signed with Pathé Exchange and appeared in several films during the pre-Code era, showcasing her talent and versatility as an actress. Some of her notable films from this period include "Holiday" (1930), "East Lynne" (1931), and "The Animal Kingdom" (1932). Harding was known for her elegant and refined performances, often portraying strong and independent women. Her acting style and the types of characters she portrayed earned her critical acclaim and a dedicated fan base. During her career, Harding appeared in over 30 films, but as the Hollywood studio system changed, she found herself struggling to secure roles that matched her abilities. In the late 1940s, she transitioned to television, making appearances on various TV shows. Ann Harding's acting career spanned several decades, and she left a lasting impact on both stage and screen. Her contributions to the arts were recognized with a star on the Hollywood Walk of Fame. Ann Harding passed away on September 1, 1981, in Sherman Oaks, California, leaving behind a legacy of compelling performances and contributions to the world of entertainment. |
Ann Harding had a significant impact on pre-Code Hollywood through her performances and portrayal of complex and strong female characters.
Harding's performances in pre-Code films showcased a level of sophistication and maturity not often seen in female characters of that era. She played women who were independent, intelligent, and unafraid to challenge societal norms, which was quite progressive for the time. Her characters were not bound by traditional gender roles and often had agency in their relationships and decisions. In "Holiday" (1930), Harding played Linda Seton, a wealthy and free-spirited woman who chooses her own path instead of conforming to societal expectations. This role allowed her to exhibit a modern and liberated female character, which resonated with audiences. Another notable film was "The Animal Kingdom" (1932), in which she portrayed a successful author named Daisy Sage. The film explored themes of love and fidelity in marriage, as Daisy navigates her feelings for a younger man while being married to a wealthy businessman. The movie's treatment of romantic relationships and extramarital affairs pushed the boundaries of what was acceptable in cinema at the time. Ann Harding's performances during the pre-Code era challenged conventional notions of femininity, and her characters were not merely supporting roles to male leads but held their own in the narratives. She was a precursor to the more independent and assertive female characters that would become more prevalent in Hollywood in the decades to come. Moreover, Harding's influence extended beyond her individual roles. As a respected actress, she contributed to the changing perceptions of women in Hollywood, inspiring other actresses to take on more substantial and multifaceted roles. Her legacy as an actress who portrayed strong and empowered women during the pre-Code era continues to be recognized and appreciated by film historians and enthusiasts. |
Quotes:
I believe that the actress who wears her profession on her sleeve, as it were, outside of her work, is, as a rule, merely dramatizing herself. When she acts off-stage as well as on, she is wasting her talent. It is like using nectar to quench a casual thirst."
- Ann Harding |
Trivia:
She joined the NAACP in 1934, having been disgusted by what she considered racism in her movie Prestige (1931). In 1935, she attended a benefit in support of the group's anti-lynching bill.
Her vehicle The Life of Vergie Winters (1934), in which she portrayed an unwed woman who carries on an illicit love affair with a married man and bears his child, was banned in Chicago and placed on the Catholic Church's list of films to be boycotted. Unlike most film stars at that time, Ann dressed down off-camera and had little concern for her outward appearance. She often attended premieres without makeup or fancy hair-dos. Gossip maven Adela Rogers St. Johns claimed that Ann was "...the worst dressed woman I ever saw in my life!". Was the leading lady of Robert Montgomery in two films - When Ladies Meet (1933) and Biography of a Bachelor Girl (1935). |
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Anna May Wong(1905-1961)
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Anna May Wong was a pioneering Chinese-American actress who achieved international fame in the early 20th century. She was born Wong Liu Tsong on January 3, 1905, in Los Angeles, California, USA. Her parents were Chinese immigrants who ran a laundry business.
As a child, Wong developed an interest in acting and began her career in silent films at the age of 14. She faced significant racial discrimination and stereotyping in the film industry, but she persevered and worked hard to break barriers and challenge the limited opportunities available to Asian actors at the time. In 1922, Anna May Wong landed her first leading role in the film "The Toll of the Sea." This role garnered critical acclaim and marked the beginning of her rise to stardom. Over the next decade, she appeared in numerous films, including "Piccadilly" (1929), where she starred opposite Gilda Gray. Wong's performances were praised for their beauty, grace, and charisma. However, Wong faced the frustrating reality of being often typecast as exotic or stereotypical Asian characters, perpetuating racial clichés. The restrictive Hollywood environment, combined with the anti-miscegenation laws of the time, made it difficult for Wong to secure leading roles opposite Caucasian actors, further limiting her career opportunities. In the late 1920s and early 1930s, Wong traveled to Europe, where she starred in several successful films, earning her recognition and admiration from European audiences. Despite her success overseas, Wong continued to face racial discrimination upon her return to Hollywood. One of the most significant setbacks Wong experienced was the controversial casting of the character O-Lan in the film adaptation of Pearl S. Buck's novel "The Good Earth" (1937). Despite being a talented and well-known Chinese-American actress, Wong was passed over for the lead role in favor of a white actress, Luise Rainer, who was given makeup to appear Chinese. This casting decision was a major disappointment for Wong and highlighted the systemic racism prevalent in the entertainment industry. Despite the challenges, Wong persevered and continued to work in films, radio, and television. She became the first Asian-American actress to have her own television show, "The Gallery of Madame Liu-Tsong," which aired briefly in 1951. Anna May Wong's impact on Hollywood and the film industry cannot be overstated. She was a trailblazer who fought against racial stereotypes and paved the way for future generations of Asian-American actors. Wong's legacy extends beyond her acting career; she remains an icon for representation and diversity in the entertainment world. Anna May Wong passed away on February 3, 1961, in Santa Monica, California. Her contributions to film and her advocacy for Asian representation continue to be remembered and celebrated today. |
Anna May Wong's impact on pre-Code Hollywood was significant, as she was one of the few Asian-American actresses to achieve fame during this era and challenged racial stereotypes on screen. The pre-Code era (late 1920s to 1934) allowed for more creative freedom in filmmaking, but it was still characterized by racial stereotypes and limited opportunities for actors of color. Despite these challenges, Wong managed to carve out a notable place for herself in the industry and made significant contributions.
Breaking Stereotypes: During the pre-Code era, Asian characters in Hollywood films were often portrayed through demeaning and exoticized stereotypes. However, Anna May Wong sought to challenge these portrayals by playing more authentic and nuanced roles. While she still faced limitations in the types of characters she could portray, Wong's performances often showcased a dignity and complexity that defied the narrow stereotypes of the time. Leading Roles: Wong managed to secure leading roles in films, a rare feat for an Asian-American actress in Hollywood during that period. Her talent and screen presence allowed her to transcend racial barriers and become a prominent figure in the film industry. International Fame: Wong's fame was not limited to the United States; she achieved recognition and popularity worldwide, particularly in Europe. She became a symbol of Asian representation in cinema and broke down barriers in international markets. Collaboration with Major Studios: Wong worked with major Hollywood studios, including Paramount and MGM, which helped elevate her status as an actress and brought her performances to a broader audience. Asian-American Trailblazer: Anna May Wong's success in pre-Code Hollywood paved the way for future generations of Asian-American actors and actresses. Her visibility and accomplishments in the industry inspired others to pursue careers in film and entertainment, even as they faced the same racial barriers she had confronted. However, it is essential to acknowledge that despite her achievements, Wong still faced significant challenges due to the prevailing racism and discriminatory practices in Hollywood. She often lost out on roles to white actresses in yellowface, as exemplified by the casting decisions in films like "The Good Earth." This reflected the systemic racism and limited opportunities for Asian actors during that time. In conclusion, Anna May Wong's impact on pre-Code Hollywood can be seen as a trailblazing effort to challenge stereotypes, advocate for better representation, and open doors for Asian-American performers in the film industry. Her contributions to cinema and her fight for more authentic portrayals of Asian characters continue to be recognized and appreciated today. |
BOMBS OVER BURMA (1942)
DANGEROUS TO KNOW (1938)
DAUGHTER OF SHANGHAI (1937)
DAUGHTER OF THE DRAGON (1931)
ELSTREE CALLING (1930)
IMPACT (1949)
ISLAND OF LOST MEN (1939)
JAVA HEAD (1935)
KING OF CHINATOWN (1939)
PORTRAIT IN BLACK (1960)
SHANGHAI EXPRESS (1932)
STUDY IN SCARLET, A (1933)
WHEN WERE YOU BORN? (1938)
DANGEROUS TO KNOW (1938)
DAUGHTER OF SHANGHAI (1937)
DAUGHTER OF THE DRAGON (1931)
ELSTREE CALLING (1930)
IMPACT (1949)
ISLAND OF LOST MEN (1939)
JAVA HEAD (1935)
KING OF CHINATOWN (1939)
PORTRAIT IN BLACK (1960)
SHANGHAI EXPRESS (1932)
STUDY IN SCARLET, A (1933)
WHEN WERE YOU BORN? (1938)
Quotes:
"I see no reason why Chinese and English people should not kiss on the screen, even though I prefer not to."
In Photoplay (June 1923): "I couldn't find a taxi, and I haven't got a car myself. I ruined the last one I had trying to beat a motor cop to a bridge. I beat him all right, but I missed the bridge." - Anna May Wong |
Trivia:
Lucy Liu dedicated her Hollywood Walk of Fame speech to her. Their stars are adjacent to each other.
Anna once had an affair with noted silent film director Marshall Neilan. Most of her romances tended towards Caucasian men, as many Chinese men looked down on actresses as prostitutes. It is believed by some that Wong never kissed her leading man on the lips on screen but she does share just such a kiss with John Loder in Java Head (1934). Such a scene was filmed for her film The Flame of Love (1930) with John Longden but was deleted by censors who felt that moviegoers might be offended by an interracial kiss. Also in Lady from Chungking (1942), Harold Huber, a Caucasian playing a Japanese general, kisses her on the lips as the scene fades, in the 63rd minute of the film. Desperately wanted the role of O-Lan in the romance film The Good Earth (1937). However, due to her being ethnically Chinese and the male lead Paul Muni being Caucasian, she was turned down for the role. She was given an opportunity to play Lotus, a Chinese peasant girl, which she turned down. Once coached Dorothy Lamour, who was appearing as a Eurasian girl in the film Disputed Passage (1939). In 1956, Anna received a long-deferred chance to play a role she lost out on in 1940s Hollywood. Playing the Asian blackmailer in W. Somerset Maugham's "The Letter" on television, the director of the series was none other than William Wyler, who had originally nixed the idea of her playing the role in Bette Davis's classic film version of The Letter (1940). The role instead went to non-Asian Gale Sondergaard. |
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Barbara Stanwyck(1907-1990)
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Barbara Stanwyck was an American actress born on July 16, 1907, in Brooklyn, New York. She is widely regarded as one of the greatest actresses of the Golden Age of Hollywood and made significant contributions to film, television, and stage throughout her career.
Stanwyck's early life was marked by tragedy as she lost both her parents at a young age. She began her career as a performer in various entertainment venues, including dancing and chorus line work. She eventually transitioned to acting and made her Broadway debut in 1926. In 1929, Stanwyck moved to Hollywood and signed a contract with Columbia Pictures. She quickly established herself as a versatile actress, starring in a wide range of genres, including drama, comedy, and film noir. Stanwyck's breakthrough came with her role in the pre-Code film "Baby Face" (1933), where she played a young woman who uses her sexuality to climb the social ladder. The film showcased her talent and versatility as an actress, and she continued to deliver strong performances throughout the 1930s. During the 1940s, Stanwyck became associated with the film noir genre and delivered some of her most memorable performances in films like "Double Indemnity" (1944), directed by Billy Wilder, where she portrayed a seductive and morally ambiguous femme fatale. Her performance in the film earned her critical acclaim and established her as a prominent figure in the noir genre. Stanwyck's career extended beyond film, and she successfully transitioned to television in the 1950s. She starred in the popular series "The Barbara Stanwyck Show" (1960-1961) and later achieved further success with the western series "The Big Valley" (1965-1969), for which she received an Emmy Award nomination. Her work in television solidified her status as a versatile and respected actress across different mediums. Throughout her career, Stanwyck received numerous accolades, including four Academy Award nominations for Best Actress. She was known for her ability to bring depth and complexity to her characters, whether playing strong and independent women, vulnerable heroines, or morally ambiguous figures. Barbara Stanwyck's contributions to the world of cinema and entertainment spanned several decades. She left a lasting impact on the industry, not only through her impressive body of work but also through her professionalism, versatility, and ability to command the screen. She remains an iconic figure in the history of American film and a revered actress whose legacy continues to inspire generations of performers. Barbara Stanwyck passed away on January 20, 1990, at the age of 82. |
Barbara Stanwyck had a significant impact on pre-Code Hollywood through her versatile acting, compelling portrayals, and willingness to take on unconventional and complex roles. Stanwyck's contributions during this period helped shape the image of strong, independent women in cinema and challenged traditional gender roles.
Fearless and Ambitious Characters: Barbara Stanwyck was known for her fearlessness in taking on challenging roles that pushed the boundaries of the time. She often portrayed ambitious and determined women who were unafraid to defy societal norms and expectations. This portrayal of strong and multifaceted female characters was refreshing in an era when women's roles on screen were often limited to stereotypes or one-dimensional portrayals. Sexual Independence: Stanwyck's characters in pre-Code films were not shy about expressing their sexuality and desires. She brought a level of frankness and sensuality to her roles that was unconventional for the time. Her performances in films like "Baby Face" (1933), where she played a woman who uses her sexuality to advance in society, were groundbreaking and challenged the conservative attitudes of the era. Versatility: Stanwyck showcased her acting range by taking on a wide variety of roles, including melodramas, comedies, crime films, and more. Her ability to adapt to different genres and bring depth to her characters solidified her reputation as one of the most versatile actresses of her time. Professionalism and Work Ethic: During the pre-Code era, Stanwyck was admired for her professionalism and dedication to her craft. She was known for her preparation and commitment to delivering powerful performances, which earned her the respect of her peers and filmmakers alike. Box Office Success: Stanwyck's pre-Code films were often successful at the box office, proving that audiences were drawn to her compelling portrayals of complex and independent women. Her popularity during this period solidified her status as one of Hollywood's leading actresses. Lasting Legacy: Even after the enforcement of the Production Code in 1934, Stanwyck's impact continued to be felt in Hollywood. She went on to have a long and successful career, earning four Academy Award nominations and starring in numerous acclaimed films and television shows. Barbara Stanwyck's contributions to pre-Code Hollywood were instrumental in shaping the representation of women on screen and challenging societal norms. Her willingness to take on bold and unconventional roles helped pave the way for greater diversity and complexity in the portrayal of women in cinema, leaving a lasting impact on the industry. |
BABY FACE (1933)
BALL OF FIRE (1941)
BANJO ON MY KNEE (1936)
BITTER TEA OF GENERAL YEN, THE (1933)
BREAKFAST FOR TWO (1937)
CHRISTMAS IN CONNECTICUT (1945)
CLASH BY NIGHT (1952)
CRIME OF PASSION (1957)
CRY WOLF (1947)
DOUBLE INDEMNITY (1944)
EAST SIDE, WEST SIDE (1949)
ESCAPE TO BURMA (1955)
FILE ON THELMA JORDAN, THE (1950)
FORBIDDEN (1932)
FORTY GUNS (1957)
GAMBLING LADY (1934)
GOLDENBOY (1939)
HIS BROTHER'S WIFE (1936)
HOLLYWOOD CANTEEN (1944)
ILLICIT (1931)
JEOPARDY (1953)
LADIES THEY TALK ABOUT (1933)
LADY EVE, THE (1941)
LADY OF BURLESQUE (1943)
LOCKED DOOR, THE (1929)
LOST LADY, A (1934)
MAD MISS MANTON, THE (1938)
MAN WITH A CLOAK, THE (1951)
MEET JOHN DOE (1941)
MIRACLE WOMAN, THE (1931)
NIGHT NURSE (1931)
NO MAN OF HER OWN (1950)
OTHER LOVE, THE (1947)
PLOUGH AND THE STARS, THE (1936)
PURCHASE PRICE, THE (1932)
REMEMBER THE NIGHT (1940)
SECRET BRIDE, THE (1934)
SHOPWORN (1932)
SORRY, WRONG NUMBER (1948)
STELLA DALLAS (1937)
LAUREL & HARDY SHORTS: OLIVER THE EIGHTH, THE STOLEN JOOLS, COUNTY HOSPITAL (0)
STRANGE LOVE OF MARTHA IVERS, THE (1946)
TEN CENTS A DANCE (1931)
THIS IS MY AFFAIR (1937)
TWO MRS. CARROLS, THE (1947)
UNION PACIFIC (1939)
WITNESS TO MURDER (1954)
WOMAN IN RED, THE (1935)
BALL OF FIRE (1941)
BANJO ON MY KNEE (1936)
BITTER TEA OF GENERAL YEN, THE (1933)
BREAKFAST FOR TWO (1937)
CHRISTMAS IN CONNECTICUT (1945)
CLASH BY NIGHT (1952)
CRIME OF PASSION (1957)
CRY WOLF (1947)
DOUBLE INDEMNITY (1944)
EAST SIDE, WEST SIDE (1949)
ESCAPE TO BURMA (1955)
FILE ON THELMA JORDAN, THE (1950)
FORBIDDEN (1932)
FORTY GUNS (1957)
GAMBLING LADY (1934)
GOLDENBOY (1939)
HIS BROTHER'S WIFE (1936)
HOLLYWOOD CANTEEN (1944)
ILLICIT (1931)
JEOPARDY (1953)
LADIES THEY TALK ABOUT (1933)
LADY EVE, THE (1941)
LADY OF BURLESQUE (1943)
LOCKED DOOR, THE (1929)
LOST LADY, A (1934)
MAD MISS MANTON, THE (1938)
MAN WITH A CLOAK, THE (1951)
MEET JOHN DOE (1941)
MIRACLE WOMAN, THE (1931)
NIGHT NURSE (1931)
NO MAN OF HER OWN (1950)
OTHER LOVE, THE (1947)
PLOUGH AND THE STARS, THE (1936)
PURCHASE PRICE, THE (1932)
REMEMBER THE NIGHT (1940)
SECRET BRIDE, THE (1934)
SHOPWORN (1932)
SORRY, WRONG NUMBER (1948)
STELLA DALLAS (1937)
LAUREL & HARDY SHORTS: OLIVER THE EIGHTH, THE STOLEN JOOLS, COUNTY HOSPITAL (0)
STRANGE LOVE OF MARTHA IVERS, THE (1946)
TEN CENTS A DANCE (1931)
THIS IS MY AFFAIR (1937)
TWO MRS. CARROLS, THE (1947)
UNION PACIFIC (1939)
WITNESS TO MURDER (1954)
WOMAN IN RED, THE (1935)
Quotes:
"I'm a tough old broad from Brooklyn. I intend to go on acting until I'm ninety and they won't need to paste my face with make-up."
[referring to director Frank Capra] "Eyes are the greatest tool in film. Mr. Capra taught me that. Sure, it's nice to say very good dialogue, if you can get it. But great movie acting - watch the eyes!" [in 1939 on the fact that her fiancé, Robert Taylor, was four years younger than she] "The boy's got a lot to learn and I've got a lot to teach." "My only problem is finding a way to play my fortieth fallen female in a different way from my thirty-ninth." - Barbara Stanwyck |
Trivia:
Her stage name was inspired by a theatrical poster that read "Jane Stanwyck in 'Barbara Frietchie.'". | In 1944, when she earned $400,000, the government listed her as the nation's highest-paid woman.
Often called "The Best Actress Who Never Won an Oscar." Her role as Phyllis Dietrichson in Double Indemnity (1944) was ranked #8 on the American Film Institute's "100 Greatest Screen Heroes and Villains" list. The performance also was ranked #98 on Premiere Magazine's 100 Greatest Performances of All Time list (2006) and #58 on Premiere Magazine's 100 Greatest Movie Characters of All Time list. Her stormy 7 year marriage to Frank Fay finally ended after a drunken brawl, during which he tossed their adopted son, Dion, into the swimming pool. Their divorce was finalized on December 30, 1935. The couple had adopted Dion on December 5, 1932. Dion (born John Charles Greene, February 5, 1932, Los Angeles County, California - died May 17, 2006, Van Nuys, Los Angeles County, California) became permanently estranged from Stanwyck in February 1951, when he was 19 years old; the rift never healed. | Picked up the starring role in Ball of Fire (1941) after Ginger Rogers dropped out. On October 27, 1981, Stanwyck was awakened by a burglar at 1:00 in the morning. She was hit on the head with an unknown object then forced into a closet while the intruder ransacked the house and got away with $5,000 worth of jewels. She was treated for minor head wounds at Cedars-Sinai Medical Center and released the next day. Four years later, in 1985, the house was destroyed in a fire. She expressed upset at losing personal keepsakes, including love letters from Robert Taylor. She was replaced by Susan Hayward in Heat of Anger (1972), which was to have been a pilot for a prospective TV series to be called "Fitzgerald and Pride.". A Star Is Born (1937) starring Janet Gaynor and Fredric March is said to be modeled after Stanwyck's rise to stardom and first husband Frank Fay's descent into obscurity. William Holden was considered to be too lightweight for the lead role in Golden Boy (1939), but Stanwyck urged producers to keep him in the picture and it was through her efforts he was kept in the picture, and the role made him a star. In 1978, at the The 50th Annual Academy Awards (1978), before starting the presentation of the sound award, Holden publicly thanked her for what she did. She nearly broke down in tears and kissed Holden, and the exchange received thunderous audience applause. Planned to play the lead in Mildred Pierce (1945), but Joan Crawford was faster and got the role. | Throughout her career she was known for her kindness and patience with younger performers. Marilyn Monroe, who worked with Stanwyck in the 1952 film Clash by Night (1952) said that Stanwyck was the only member of Hollywood's older generation who was kind to her. When she was awarded an Honorary Oscar for lifetime achievement, the statuette was presented to her by John Travolta who later confessed that the experience was his supreme Oscar moment. Stanwyck had been a Travolta family favorite for years. [1982] She twice played a character named Jessica Drummond in two completely different movies: My Reputation (1946) and Forty Guns (1957). Lived near Joan Crawford during her marriage to Frank Fay. According to Christina Crawford, between 1932 and 1934, Stanwyck would escape from the alcoholic and volatile Fay when things got too hot by scaling a fence on their property. She would stay with Crawford, who lived across the street, until the heat died down. Stanwyck and Crawford had been friends since the days when they were single young actresses and remained friends until Crawford's death. Was considered for the role of Scarlett O'Hara in Gone with the Wind (1939). In a first season episode of The Big Valley (1965) (called "Tunnel of Gold"), Stanwyck's character, Victoria Barkley, explained that she lost both of her parents as a young child, and was raised in a foster home. Years later, Stanwyck explained it written that way because the exact same thing had happened to her as a child. Three comedies that she starred-in in 1941: Meet John Doe (1941), Ball of Fire (1941) and The Lady Eve (1941) were Oscar nominated for Best Story, but none of them won the award. | She 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: Baby Face (1933), The Lady Eve (1941), Ball of Fire (1941) and Double Indemnity (1944). In his autobiography, Cecil B. DeMille wrote that, among the actresses he directed, Barbara Stanwyck was his favorite. He said, "Barbara's name is the first that comes to mind, as one on whom a director can always count to do her work with all her heart.". |
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Bebe Daniels(1901-1971)
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Bebe Daniels was an American actress, singer, dancer, and producer who had a successful career in both silent and sound films. She was born Phyllis Virginia Daniels on January 14, 1901, in Dallas, Texas, USA. She began her entertainment career at a very young age and quickly became a prominent figure in Hollywood during the 1920s and 1930s.
Early Career: Bebe Daniels started performing in vaudeville as a child and made her film debut in silent films at the age of seven. Her early success led to a contract with Hal Roach Studios, where she appeared in numerous comedy shorts opposite Harold Lloyd and others. Silent Film Stardom: In the 1920s, Daniels became one of the leading stars of silent cinema, known for her beauty, charm, and comedic timing. She starred in several successful films, including "Wild Wild Susan" (1921), "Polish Up" (1924), and "Dixiana" (1926). Transition to Talkies: Unlike many of her contemporaries, Bebe Daniels successfully made the transition to sound films. Her expressive voice and singing abilities allowed her to excel in the new era of cinema. She appeared in several early sound films, including "Rio Rita" (1929) and "Dixiana" (1930). International Success: Bebe Daniels' popularity extended beyond Hollywood. She became highly acclaimed in the United Kingdom and Europe, making successful films in the British film industry. She was one of the few American actresses to have an equally successful career in both Hollywood and British cinema. Later Career: In the 1930s, Daniels continued to work in both American and British films. She appeared in a variety of genres, including musicals, comedies, and dramas. Some of her notable films from this period include "42nd Street" (1933) and "Registered Nurse" (1934). Radio and Television: With the decline of her film career in the late 1930s, Bebe Daniels turned her focus to radio and later television. She and her husband, actor Ben Lyon, hosted the popular radio program "Life with the Lyons" in the UK during the 1950s. The show was later adapted for television. Later Life: Bebe Daniels and Ben Lyon retired from the entertainment industry in the 1960s and moved to the United States. Bebe Daniels passed away on March 16, 1971, in London, England, at the age of 70. Bebe Daniels' contributions to the entertainment industry were significant. She left a lasting impact on both silent and sound films, charming audiences with her talent and charisma. Her work in radio and television also solidified her status as a versatile and accomplished performer. |
Bebe Daniels had a notable impact on pre-Code Hollywood, particularly during the early sound film era. The pre-Code period (late 1920s to 1934) allowed for more daring and risqué content in Hollywood films, and Daniels, with her talent and versatility, contributed to this era in several ways:
Transition to Sound Films: Bebe Daniels successfully made the transition from silent films to sound films. Unlike some of her silent film contemporaries who struggled with the transition, Daniels' expressive voice and singing abilities allowed her to flourish in the new sound era. She quickly adapted to the challenges of talking pictures and continued to be a sought-after actress. Versatility: In pre-Code Hollywood, Daniels showcased her versatility as an actress by taking on a wide range of roles in various genres, including musicals, comedies, and dramas. This flexibility helped solidify her status as a bankable star during a time when studios were looking for actors who could handle different types of roles. Notable Films: Daniels appeared in several successful pre-Code films that pushed the boundaries of what was permissible on screen during that era. Some of her notable pre-Code films include "Rio Rita" (1929), a musical comedy known for its lively performances and humor, and "Love Comes Along" (1930), a romantic comedy that tackled themes of premarital relationships and unconventional love. International Success: Bebe Daniels was one of the few American actresses who achieved significant success in both Hollywood and British cinema during the pre-Code era. Her popularity extended beyond the United States, and she became highly acclaimed in the UK and Europe. Her international appeal added to her significance as a Hollywood star. Charisma and Charm: Daniels' screen presence, beauty, and charm captivated audiences, making her a beloved and influential figure during the pre-Code era. Her ability to connect with viewers helped draw audiences to theaters and contributed to the success of her films. A Progressive Image: Bebe Daniels' portrayal of independent and strong-willed female characters was ahead of its time and resonated with audiences during the pre-Code era. Her roles often challenged traditional gender norms, reflecting the changing attitudes towards women in society. Overall, Bebe Daniels' impact on pre-Code Hollywood lies in her successful transition to sound films, versatility as an actress, and the influence of her on-screen portrayals, which defied stereotypes and explored more daring themes. Her contributions to this era in film history are recognized as part of the broader movement that pushed the boundaries of cinematic storytelling before the enforcement of stricter production codes in Hollywood. |
Quotes:
"All during the war, we kept saying, Ben [husband Ben Lyon] and I, that when it was over, we would come back to Hollywood. But now we've been here, and we just have to be honest, this is no longer home. Home is back in London, because we went through the bombings with them."
"Twelve men decided I was guilty of a breach of the law and here I am behind the bars, taking my medicine like a law-abiding person. Jail isn't as bad as I thought. The most terrifying part was just the thought of being surrounded on all sides by murderers and thieves and various and sundry sorts of criminals. That feeling has left me now, for I find everybody, even the other inmates, are just as nice and considerate as they can be. As to the courtesies of Sheriff Jackson and Jailor Lacy I have only the highest praise. One of my first visitors this morning was Justice Cox, who sentenced me for speeding. He brought me a beautiful bouquet of roses. I have the greatest possible admiration for him because he did only his duty in sending me here." - Bebe Daniels |
Trivia:
Reportedly, Bebe was Al Capone's favorite actress. When Bebe and Ben were visiting a hotel, their hotel room was burgled and thousands in jewels were stolen. When Capone heard of this, he sent out a warning to 'whomever' had stolen Bebe's property, that they had 24 hours to return the items. The items were returned.
Her movie The Speed Girl (1921) was made to capitalize on her ten-day jail sentence for multiple speeding tickets. The movie's poster shows her walking out of a jail cell. Her "vamp" role in Cecil B. DeMille's Why Change Your Wife? (1920) brought her enormous popularity and respect as a dramatic actress. Bebe entered films as a child actress appearing in productions of the Ince Kalen and Imp Companies for whom her mother was casting director. In 1915 she joined Hal Roach and appeared in over 200 one and two reel comedies playing opposite Harold Lloyd then in 1919 she came to the attention of Cecil B De Mille and acted under his direction in her first feature length film Male and Female. A contract with Paramount followed. When entertaining the troops during the war she insisted on being close to the front lines and one time walked through the trenches and was going to cross into the Italian lines until an officer realised and escorted her back. |
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Bette Davis(1908-1989)
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Bette Davis, born Ruth Elizabeth Davis on April 5, 1908, in Lowell, Massachusetts, was an American actress who became one of the most acclaimed and influential figures in the history of Hollywood. Known for her distinctive voice, intense performances, and strong-willed characters, Davis left an indelible mark on the film industry.
Davis began her acting career on Broadway in the late 1920s before making her way to Hollywood. She signed a contract with Universal Pictures in 1930 but struggled to find success initially. It wasn't until she moved to Warner Bros. in 1932 that her career gained traction. Throughout the 1930s and 1940s, Davis became known for her portrayals of complex and independent women. She defied societal norms and challenged conventional beauty standards, earning a reputation for her strong-willed characters. Davis was known for her intense dedication to her craft, often delving deep into her roles and demanding creative control over her performances. Some of Davis's most memorable films include "Of Human Bondage" (1934), "Jezebel" (1938), for which she won her first Academy Award for Best Actress, "Dark Victory" (1939), "The Letter" (1940), "The Little Foxes" (1941), and "Now, Voyager" (1942). Her performances in these films showcased her versatility and range as an actress, earning her critical acclaim and a devoted fan base. Davis continued to deliver exceptional performances throughout the 1950s, 1960s, and beyond. Notable films from this period include "All About Eve" (1950), for which she received her second Academy Award for Best Actress, "Whatever Happened to Baby Jane?" (1962), "Hush...Hush, Sweet Charlotte" (1964), and "The Whales of August" (1987). Her later career was marked by various awards, honors, and memorable television appearances. In total, Davis received ten Academy Award nominations, winning two for Best Actress. She also received numerous other accolades throughout her career, including several Emmy Awards and a Lifetime Achievement Award from the American Film Institute. Bette Davis was not only a remarkable actress but also an influential figure in the industry. She challenged the status quo, fought for better roles for women, and inspired generations of actors with her dedication and talent. Her impact on cinema, her unforgettable performances, and her unwavering commitment to her craft solidify her place as one of the greatest actresses in the history of Hollywood. Davis passed away on October 6, 1989, leaving behind a rich and enduring legacy. |
Bette Davis had a significant impact on pre-Code Hollywood, and her contributions during this era helped shape the perception of women in cinema and challenged societal norms. The pre-Code period (late 1920s to 1934) allowed for more provocative and daring storytelling, and Davis, with her powerful performances and willingness to tackle controversial subjects, became a prominent figure during this time.
Challenging Gender Norms: Bette Davis was known for portraying strong, complex, and assertive women on screen. At a time when female characters were often relegated to stereotypical roles or limited to supporting parts, Davis's characters defied traditional gender norms. She brought depth and authenticity to her portrayals, making her female characters more relatable and compelling. Risk-Taking Roles: Davis was not afraid to take on unconventional and morally ambiguous roles that pushed the boundaries of the time. In films like "Of Human Bondage" (1934), she portrayed a manipulative and self-destructive waitress, earning critical acclaim for her fearless and raw performance. Strong Female Leads: During the pre-Code era, Davis became one of the few actresses to headline films and command top billing. She proved that female-led films could be successful and popular, challenging the prevailing belief that male stars were the primary draw for audiences. Emotional Intensity: Davis was celebrated for her emotional range and intensity as an actress. She could portray vulnerability, strength, and passion with equal skill, captivating audiences with her powerful performances. Social and Political Relevance: Some of Davis's pre-Code films tackled social and political issues, bringing attention to topics like labor rights ("Front Page Woman" - 1935) and capital punishment ("20,000 Years in Sing Sing" - 1932). Through these films, Davis helped bring pressing societal concerns to the forefront of public consciousness. Academy Award Recognition: While her Academy Award wins came after the pre-Code era, her work during this time set the stage for her future accolades. Davis received her first Oscar nomination for her role in "Of Human Bondage," which further cemented her status as a rising star in Hollywood. Bette Davis's impact on pre-Code Hollywood was profound, as she broke away from the conventional expectations for female actresses and paved the way for more complex and dynamic portrayals of women on screen. Her legacy as a trailblazer continues to be celebrated, and she remains one of the most revered and influential actresses in the history of American cinema. |
20,000 YEARS IN SING SING (1933)
ALL ABOUT EVE (1950)
ANOTHER MAN'S POISON (1951)
BAD SISTER, THE (1931)
BIG SHAKEDOWN, THE (1934)
BORDERTOWN (1935)
BUREAU OF MISSING PERSONS (1933)
CATERED AFFAIR, THE (1956)
DANGEROUS (1935)
DEAD RINGER (1964)
DECEPTION (1946)
EX-LADY (1933)
FOG OVER FRISCO (1934)
FRONT PAGE WOMAN (1935)
GIRL FROM 10TH AVENUE, THE (1935)
GREAT LIE, THE (1941)
HELL'S HOUSE (1932)
HOLLYWOOD CANTEEN (1944)
JEZEBEL (1938)
JIMMY THE GENT (1934)
JUAREZ (1939)
JUNE BRIDE (1948)
KID GALAHAD (1937)
LETTER, THE (1940)
LITTLE FOXES, THE (1941)
MAN WHO CAME TO DINNER, THE (1941)
MAN WHO PLAYED GOD, THE (1932)
MARKED WOMAN (1937)
MENACE (1934)
OF HUMAN BONDAGE (1934)
OLD ACQUAINTANCE (1943)
PARACHUTE JUMPER (1933)
PAYMENT ON DEMAND (1951)
PETRIFIED FOREST, THE (1936)
PHONE CALL FROM A STRANGER (1952)
POCKETFUL OF MIRACLES (1961)
SATAN MET A LADY (1936)
SCAPEGOAT, THE (1959)
SPECIAL AGENT (1935)
STAR, THE (1952)
STOLEN LIFE, A (1946)
THANK YOUR LUCKY STARS (1943)
THAT CERTAIN WOMAN (1937)
THREE ON A MATCH (1932)
WATCH ON THE RHINE (1943)
WATERLOO BRIDGE (1931)
ALL ABOUT EVE (1950)
ANOTHER MAN'S POISON (1951)
BAD SISTER, THE (1931)
BIG SHAKEDOWN, THE (1934)
BORDERTOWN (1935)
BUREAU OF MISSING PERSONS (1933)
CATERED AFFAIR, THE (1956)
DANGEROUS (1935)
DEAD RINGER (1964)
DECEPTION (1946)
EX-LADY (1933)
FOG OVER FRISCO (1934)
FRONT PAGE WOMAN (1935)
GIRL FROM 10TH AVENUE, THE (1935)
GREAT LIE, THE (1941)
HELL'S HOUSE (1932)
HOLLYWOOD CANTEEN (1944)
JEZEBEL (1938)
JIMMY THE GENT (1934)
JUAREZ (1939)
JUNE BRIDE (1948)
KID GALAHAD (1937)
LETTER, THE (1940)
LITTLE FOXES, THE (1941)
MAN WHO CAME TO DINNER, THE (1941)
MAN WHO PLAYED GOD, THE (1932)
MARKED WOMAN (1937)
MENACE (1934)
OF HUMAN BONDAGE (1934)
OLD ACQUAINTANCE (1943)
PARACHUTE JUMPER (1933)
PAYMENT ON DEMAND (1951)
PETRIFIED FOREST, THE (1936)
PHONE CALL FROM A STRANGER (1952)
POCKETFUL OF MIRACLES (1961)
SATAN MET A LADY (1936)
SCAPEGOAT, THE (1959)
SPECIAL AGENT (1935)
STAR, THE (1952)
STOLEN LIFE, A (1946)
THANK YOUR LUCKY STARS (1943)
THAT CERTAIN WOMAN (1937)
THREE ON A MATCH (1932)
WATCH ON THE RHINE (1943)
WATERLOO BRIDGE (1931)
Quotes:
"To fulfill a dream, to be allowed to sweat over lonely labor, to be given the chance to create, is the meat and potatoes of life."
[Joan Crawford] and I have never been warm friends. We are not simpatico. I admire her, and yet I feel uncomfortable with her. To me, she is the personification of the Movie Star. I have always felt her greatest performance is Crawford being Crawford. [after having blown the same line several times in Hollywood Canteen (1944), in which she plays herself] I don't know what's wrong with me, but I think I just can't play myself. I don't know how! But, if you give me a drink - give me a cigarette - give me a gun - I'll play any old bag you want me to. I just can't play myself! "If Hollywood didn't work out, I was prepared to be the best secretary in the world." "I certainly would have given anything to have worked with John Wayne. He's the most attractive man who ever walked the earth, I think." - Bette Davis |
Trivia:
While she was the star pupil at John Murray Anderson's Dramatic School in New York, another of her classmates was sent home because she was "too shy". It was predicted that this girl would never make it as an actress. The girl was Lucille Ball.
When Bette learned that her new brother-in-law was a recovering alcoholic, she sent the couple a dozen cases of liquor for a wedding present. Humphrey Bogart was in her first film Bad Sister, but Davis disliked him from the start, and nothing changed her opinion in later years, even when they did good work together. She said the biggest mistake of her career was turning down the role of Blanche in the original stage production of A Streetcar Named Desire. She had just had her baby and didn't want to go to New York. Interestingly Vivien Leigh won the Oscar for this part as well as for another Bette "almost" role Gone With The Wind. She thought Toys in the Attic by Lillian Hellman would have been the perfect vehicle for her and Katharine Hepburn. Had a legendary feud with Joan Crawford which reached its nadir when she said, "The best time I ever had with Joan in a film was when I pushed her down the stairs in What ever happened to Baby Jane?" In Marked Woman (1937), Davis is forced to testify in court after being worked over by some Mafia hoods. Disgusted with the tiny bandage supplied by the makeup department, she left the set, had her own doctor bandage her face more realistically, and refused to shoot the scene any other way. After the song "Bette Davis Eyes" became a hit single, she wrote letters to singer Kim Carnes and songwriters Donna Weiss and Jackie DeShannon, asking how they knew so much about her. One of the reasons Davis loved the song is that her granddaughter heard it and thought it "cool" that her grandmother had a hit song written about her. Joan Crawford and Davis had feuded for years. During the making of What Ever Happened to Baby Jane? (1962), Bette had a Coca-Cola machine installed on the set due to Crawford's affiliation with Pepsi (she was the widow of Pepsi's CEO). Joan got her revenge by putting weights in her pockets when Davis had to drag her across the floor during certain scenes. Declined a role in 4 for Texas (1963) (which turned out to be a big hit) to do Dead Ringer (1964) (which turned out to be a big flop). Had a long-running feud with Miriam Hopkins due to her affair with Hopkins' husband, director Anatole Litvak, as well as Davis' getting many roles that Hopkins wanted. Played dual roles of twin sisters in two movies: A Stolen Life (1946) and Dead Ringer (1964). She intimidated Marilyn Monroe so badly on the set of All About Eve that Monroe went into the bathroom to vomit after her scenes with Davis. After one particular scene Davis whispered to her other co-stars-- within poor Marilyn's hearing-- "That little blonde slut can't act her way out of a paper bag! She thinks if she wiggles her ass and coos away, she can carry her scene-- well, she can't!" Was originally offered the role of Sandra Kovak, the hot-tempered talented pianist, in The Great Lie (1941). However Davis declined, instead giving the part to her good friend Mary Astor in order to take on the less showier role of Maggie Patterson as she knew that it would make Astor, whose career had not fully recovered due to the transition from silent films to "talkies", a huge star. Davis was right, as Astor went on to win the Best Supporting Actress Oscar for her performance. |
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Carole Lombard(1908-1942)
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Carole Lombard was an American actress and one of the most successful comedic stars of Hollywood's Golden Age. She was born Jane Alice Peters on October 6, 1908, in Fort Wayne, Indiana, USA. Her stage name, Carole Lombard, was adopted during her early career in Hollywood.
Lombard's entry into the entertainment industry began in the late 1920s when she signed a contract with Fox Film Corporation. She appeared in a few silent films before transitioning to talking pictures. However, it wasn't until the early 1930s that she gained prominence as a talented actress and a gifted comedienne. Known for her beauty, wit, and infectious energy, Lombard found success in screwball comedies, a popular genre of the time characterized by fast-paced, witty dialogue and zany situations. Some of her most notable films include "Twentieth Century" (1934), "My Man Godfrey" (1936), and "Nothing Sacred" (1937). In 1939, Lombard received her only Academy Award nomination for her performance in the film "My Man Godfrey." While she was celebrated for her comedic skills, she also demonstrated her ability to tackle more dramatic roles, showcasing her versatility as an actress. In addition to her successful acting career, Carole Lombard was known for her vivacious personality and her marriage to the famous actor Clark Gable. The couple wed in 1939 and became one of Hollywood's most glamorous and beloved pairs. Tragically, their happy life together was cut short. On January 16, 1942, Lombard, Gable, and her mother were returning from a war bond rally in support of the United States' efforts during World War II. Their plane crashed into a mountain near Las Vegas, Nevada, resulting in the loss of all lives on board. Carole Lombard was only 33 years old at the time of her death. Her passing was a great loss to the film industry and her fans. She left behind a legacy of laughter and charisma, making her an unforgettable icon of Hollywood's Golden Age. Even decades after her death, Carole Lombard's contributions to film continue to be celebrated, and she remains an enduring symbol of classic Hollywood glamour and talent. |
Carole Lombard made a significant impact on pre-code Hollywood through her roles in various films during the early 1930s.
Comedic Prowess: Lombard's comedic talent shone in numerous pre-code films. Her wit, charm, and impeccable timing made her a perfect fit for the screwball comedy genre, which was especially popular during this era. In films like "Twentieth Century" (1934) and "Hands Across the Table" (1935), Lombard's performances were marked by her fearless and uninhibited approach to humor, pushing the boundaries of what was deemed acceptable on-screen. Sexuality and Romance: The pre-code era allowed for more explicit portrayals of sexuality and romance on screen. Lombard's characters often exhibited a level of independence and assertiveness, challenging traditional gender roles. In films like "No Man of Her Own" (1932) and "Virtue" (1932), her characters engaged in unconventional relationships and explored the complexities of love and desire. Social Satire: Pre-code Hollywood was known for its social commentary and satirical portrayals of contemporary issues. Lombard's films, such as "My Man Godfrey" (1936) and "Nothing Sacred" (1937), critiqued societal norms and exposed the absurdities of the upper class. These movies used humor and wit to highlight the follies and excesses of the time. Provocative Themes: Lombard's roles often tackled controversial subjects such as divorce, premarital sex, and infidelity, which were taboo topics at the time. Her portrayal of modern and liberated women challenged conservative ideals and provided audiences with an alternative view of femininity. Box Office Success: Lombard's pre-code films were commercially successful, demonstrating that audiences were receptive to the more daring and risqué content. This success contributed to the continued exploration of edgier themes in Hollywood films until the Hays Code was strictly enforced in 1934. Overall, Carole Lombard's impact on pre-code Hollywood lies in her ability to push the boundaries of on-screen representation and challenge societal norms. Her comedic talent, fearlessness in tackling controversial topics, and portrayal of strong, independent women left a lasting impression on audiences of the time and continues to be celebrated by film enthusiasts today. |
Quotes:
"I've lived by a man's code designed to fit a man's world, yet at the same time, I never forget that a woman's first job is to choose the right shade of lipstick."
[on why she would not work with Orson Welles] "I can't win working with Welles. If the picture's a huge hit, he'll get the credit and, if it's a flop, I'll be blamed." [William Powell] "is the only intelligent actor I've ever met." [on the concept of God] "I don't seem to get solemn about it, and some people might not understand. That's why I never talk about it. I think it's all here--in the mountains and the desert. I don't think God is a softie, either. In the end, it's better if people are forced back into--well--into being right, before they're too far gone. I think your temple is your everyday living." "When it comes to your personal life, such as love and romance, girls should take a tip from the men and keep their affairs to themselves. Any man worth his salt regards his private life as his own. To kiss a girl and run and tell would mark him as a cad. Why doesn't that apply to girls also?" - Carole Lombard |
Trivia:
The plane crash that killed her took place less than a month before the Oscars. Despite her mother's premonition of the disaster, she refused to take a train to Los Angeles. She was reputedly in a rush after getting wind of an alleged affair between her husband Clark Gable and Lana Turner who were filming Somewhere I'll Find You (1942) at the time. The decision to take the plane was decided literally by the flip of a coin, with Carole winning the toss.
Her film To Be or Not to Be (1942) was in post-production when she died in a plane crash, and the producers decided to leave out a part that had her character ironically saying, "What can happen in a plane?". She and Clark Gable first met in late 1924 while working as extras on the set of Ben-Hur: A Tale of the Christ (1925). They would make three films together as extras--Ben-Hur, The Johnstown Flood (1926) and The Plastic Age (1925)--and star together in No Man of Her Own (1932), but not become romantically attached until 1936. She preferred the company of the grips, electricians and other off-camera workers to that of other actors. In her conversations with them, she could (and did) swear like a trooper. Part of her honeymoon with Clark Gable was at the Willows Inn in Palm Springs, CA. The Inn continues to operate and anyone can stay in the same room, called "The Library Suite". The room remains largely unaltered since the Gables stayed there more than 60 years ago. A 1926 automobile accident badly cut her face. Advanced plastic surgery and adroit use of make-up covered the scars. However, at the time the belief was that use of anesthetic during the operation would leave worse scars, so she endured the reconstructive surgery without an anesthetic. Both of her husbands, William Powell and Clark Gable, starred in Manhattan Melodrama (1934). |
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Clara Bow(1905-1965)
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Clara Bow was an American actress who became one of the most iconic stars of the silent film era and an early sex symbol in Hollywood. Born on July 29, 1905, in Brooklyn, New York, she was the youngest of three siblings. Bow grew up in a troubled household, facing poverty and an unstable family life. Her father suffered from mental health issues, and her mother struggled to support the family.
At a young age, Clara Bow began entering beauty contests, and her beauty and charisma quickly caught the attention of talent scouts. She won a contest in 1921 that offered a small role in a movie, which marked the start of her acting career. She appeared in a series of small roles throughout the early 1920s. In 1925, Clara Bow's breakthrough came when she landed the lead role in the film "The Plastic Age." Her bubbly personality, distinctive appearance, and genuine acting style endeared her to audiences, and she became a sensation. She often portrayed spirited and vivacious "flapper" characters, which resonated with the changing attitudes and values of the Roaring Twenties. Clara Bow's popularity soared during the late 1920s, and she earned the nickname "The It Girl" after starring in the film "It" (1927). The term "It" referred to sex appeal and charisma, and Bow became synonymous with the concept. She was the embodiment of the modern, independent, and sexually liberated woman, becoming an influential fashion and cultural icon of her time. Despite her success, Clara Bow faced significant challenges in her personal life. She endured negative publicity, often due to fabricated or exaggerated stories about her relationships and behavior. The advent of talkies (films with synchronized sound) in the late 1920s brought additional obstacles for Bow, as her Brooklyn accent did not fit the image studios wanted to present. Nonetheless, Clara Bow made a successful transition to talkies with the film "The Wild Party" (1929). However, as she struggled with personal issues and mental health problems, her film career began to decline in the early 1930s. After her marriage to actor Rex Bell in 1931, she gradually withdrew from Hollywood and focused on her family life. Clara Bow made her final film appearance in "Hoop-La" (1933). She retired from acting, leaving behind a legacy as one of the most beloved and influential actresses of the silent era. Throughout her career, she appeared in over 40 films, leaving an indelible mark on the history of cinema. After her retirement, Clara Bow lived a private life in Nevada with her husband and two sons. She battled emotional and mental health issues, and rumors about her mental state circulated over the years. Clara Bow passed away on September 27, 1965, at the age of 60. Despite her early retirement and the challenges she faced, she remains an enduring symbol of the Jazz Age and the Roaring Twenties, and her contributions to film and popular culture continue to be celebrated. |
Clara Bow had a significant impact on Pre-Code Hollywood, which was the era of American cinema before the enforcement of the Motion Picture Production Code (Hays Code) in 1934. During this period, filmmakers had more freedom to explore controversial and taboo subjects in their films, and Clara Bow's persona and acting style perfectly embodied the spirit of the times. Here's how she made her mark on Pre-Code Hollywood:
Embodying the Flapper Image: Clara Bow became the quintessential flapper image of the 1920s, symbolizing the modern and liberated young woman of the era. Her on-screen characters often challenged traditional gender roles and societal norms, and she portrayed vibrant and independent women who were unapologetically themselves. This persona resonated with audiences of the time, who were experiencing significant social and cultural changes. Addressing Sexual Themes: Pre-Code Hollywood allowed for more open discussions of sexuality, and Clara Bow's films often explored romantic and sexual relationships in a frank and realistic manner. Her characters had romantic pursuits, intimate encounters, and love affairs that were not heavily censored or sanitized for the screen. Tackling Social Issues: Clara Bow's films frequently addressed social issues of the time, such as poverty, wealth disparity, and the challenges faced by working-class individuals. Her performances brought attention to these matters and helped raise awareness about various societal problems. Challenging Norms of Beauty: Clara Bow's natural beauty and unique appearance challenged the conventional notions of beauty prevalent in Hollywood during that era. She broke away from the typical glamorous starlet image and embraced a more approachable and relatable look, making her all the more appealing to audiences. Box Office Success: Clara Bow was one of the most popular and highest-paid actresses of her time. Her films consistently performed well at the box office, and she had a devoted fan following. Her immense popularity further cemented the influence she had on the film industry during the Pre-Code era. Representing Modernity: The 1920s was a time of modernity, and Clara Bow's characters embodied the spirit of the Jazz Age. Her roles in films like "It" and "The Plastic Age" showcased the changing attitudes towards romance, relationships, and women's roles in society. Inspiring Future Actresses: Clara Bow's impact on Pre-Code Hollywood extended beyond the era itself. Her bold and charismatic performances inspired future generations of actresses and helped pave the way for more empowered and multidimensional female characters in Hollywood. Overall, Clara Bow's contribution to Pre-Code Hollywood was significant. Her magnetic screen presence, portrayal of modern women, and willingness to tackle controversial themes made her a trailblazer during a transformative period in American cinema. She remains an enduring symbol of the liberated and forward-thinking spirit of the Roaring Twenties and continues to be remembered as one of the brightest stars of the silent film era. |
Quotes:
"The more I see of men, the more I like dogs."
"We had individuality. We did as we pleased. We stayed up late. We dressed the way we wanted. I used to whiz down Sunset Boulevard in my open Kissel, with several red Chow dogs to match my hair. Today, they're sensible and end up with better health. But we had more fun." "When I decided to leave the screen, I told Ben Schulberg [producer B.P. Schulberg] I would not finish my contract or ever work again for anyone. He yelled and threatened to sue me and I said, "Go ahead, Ben, sue me. I've fought a thief and a blackmailer and, if after such heartaches I am forced to fight you and the studio, so be it"." [on the death of her grandfather when she was five] "The first night, as he lay in his coffin in the dining room, I crept out of my bed and lay down on the floor beside him because I had the feeling that he might be lonely. My father found me there in the morning, almost frozen. I said, 'Hush, you mustn't wake grandfather. He's sleeping.'" [asked for her thoughts on Marilyn Monroe after Monroe's death] "A sex symbol is a heavy load to carry when one is tired, hurt and bewildered." [on her poverty-stricken childhood in Brooklyn] "No one wanted me in the first place. Often I was lonesome, frightened and miserable. I never had a doll in my life. I never had any clothes, and lots of times didn't have anything to eat. We just lived, and that'a about all. Girls shunned me because I was so poorly dressed - the worst looking kid on the street. I decided that girls weren't any good, and being lonely and needing child friends, cast my lot with the neighborhood boys. I became a regular tomboy - played baseball, football and learned to box." - Clara Bow |
Trivia:
As soon as Bow started to make money, she brought her father to live with her in Hollywood. For the next few years, she funded numerous business ventures for him, including a restaurant and a dry cleaners, all of which failed. He soon became a drunken nuisance on her sets, where he would try to pick up young girls by telling them his daughter was Clara Bow.
Had a turbulent love affair with actor Bela Lugosi (who had yet to deliver his career-making legendary performance in Dracula (1931) on the big screen) in the late 1920s. Lugosi had a nude portrait of Bow hanging in the bedroom of his small Hollywood apartment for the rest of his life. Bow applied her red lipstick in the shape of a heart. Women who imitated this shape were said to be putting a "Clara Bow" on their mouths. Before she was known as "The It Girl", she was known as "The Brooklyn Bonfire". Refused to write her memoirs on the grounds there were many things that might embarrass her two sons and their families. She felt all the money in the world would not compensate for the embarrassment. 1928: She became the highest paid movie star, receiving $35,000 per week. F. Scott Fitzgerald described Bow in 1927 at the peak of her fame: "Clara Bow is the quintessence of what the term 'flapper' signifies as a definite description. Pretty, impudent, superbly assured, as worldly wise, briefly clad, and 'hard-berled' as possible... Now, there are thousands more [flappers] patterning themselves after her". |
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Claudette Colbert(1903-1996)
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Claudette Colbert, born Émilie Claudette Chauchoin on September 13, 1903, was a French-American actress who achieved great success during the Golden Age of Hollywood. She was known for her versatility, charm, and comedic timing, earning her a place as one of the most popular and respected actresses of her time. Colbert appeared in a wide range of films, excelling in both dramatic and comedic roles.
Early Life and Career: Claudette Colbert was born in Saint-Mandé, France, but her family moved to New York City when she was young. She attended the Art Students League of New York and pursued a career in fashion illustration before discovering her passion for acting. In 1925, she made her Broadway debut in the play "The Wild Westcotts," and her performance caught the attention of film producer Al Lewis, who offered her a contract with Paramount Pictures. Hollywood Success: Colbert made her film debut in 1927 and quickly rose to fame. Throughout the 1930s, she became one of Hollywood's leading actresses and a top box-office draw. Her breakthrough role came in 1934 when she starred alongside Clark Gable in the romantic comedy "It Happened One Night," directed by Frank Capra. The film was a massive success and went on to win multiple Academy Awards, including Best Actress for Colbert. She became the first actress to receive an Oscar for a role in a screwball comedy. Versatility and Critical Acclaim: Colbert was admired for her ability to handle both comedic and dramatic roles with equal skill. Her versatility earned her critical acclaim, and she received several Academy Award nominations throughout her career. In addition to "It Happened One Night," she earned Oscar nominations for her performances in films like "Cleopatra" (1934) and "Private Worlds" (1935). Later Career: As the 1940s and 1950s rolled in, Colbert continued to enjoy success in Hollywood. She starred in notable films such as "The Palm Beach Story" (1942) and "Since You Went Away" (1944). However, by the late 1950s, she shifted her focus to television and stage work. Television and Retirement: In the 1950s and 1960s, Colbert appeared in numerous television shows and TV movies. One of her most memorable roles was in the 1961 TV special "The Two Mrs. Grenvilles," which earned her an Emmy Award. Colbert's last film role was in "Parrish" (1961). Throughout her career, Claudette Colbert received critical acclaim and admiration from both peers and audiences. She was known for her professionalism, elegance, and wit, making her a beloved figure in the entertainment industry. Personal Life and Legacy: Colbert was known for her privacy and managed to keep her personal life out of the spotlight. She was married twice and had no children. In 1966, Claudette Colbert received a star on the Hollywood Walk of Fame to honor her contributions to the film industry. Claudette Colbert passed away on July 30, 1996, at the age of 92, leaving behind a rich legacy of memorable performances and her status as one of Hollywood's finest actresses. Her impact on the entertainment world continues to be remembered and celebrated to this day. |
Claudette Colbert had a significant impact on pre-Code Hollywood through her performances in a variety of films that challenged societal norms and explored controversial themes. The pre-Code era, which lasted from the late 1920s to 1934, allowed filmmakers and actors more creative freedom, leading to the depiction of more adult and provocative content on screen. Colbert's contributions during this period were noteworthy for several reasons:
Embracing Modern Womanhood: Claudette Colbert often portrayed strong and independent female characters in her films. These roles defied traditional gender norms of the time, as her characters were confident, assertive, and unafraid to pursue their ambitions. This portrayal of modern womanhood resonated with audiences and became a hallmark of her performances. Successful Career Choices: Colbert was adept at choosing roles that pushed the boundaries of what was acceptable on screen during the pre-Code era. She frequently appeared in films that tackled controversial subjects, such as extramarital affairs, divorce, and unconventional relationships. By doing so, she helped pave the way for other actresses to take on complex and unconventional roles. Depicting Sexual Liberation: Pre-Code Hollywood was known for its more liberal approach to sexuality and romantic relationships. Colbert's films often featured her characters engaging in romantic and sexual encounters, reflecting the changing attitudes towards relationships and intimacy during that time. Versatility in Comedy and Drama: Colbert showcased her versatility as an actress in pre-Code Hollywood by excelling in both comedic and dramatic roles. Her comedic timing and charm were on full display in screwball comedies, while she delivered powerful performances in dramatic films, showcasing the emotional depth of her talent. Challenging Social Norms: Several of Colbert's pre-Code films addressed social issues and challenged prevailing norms. For example, in the film "Torch Singer" (1933), she portrayed a single mother who gives up her child for adoption, shedding light on the struggles faced by unwed mothers at the time. Iconic Collaborations: Claudette Colbert collaborated with prominent directors and actors of the era, including Frank Capra, Clark Gable, and Mae West. These collaborations not only elevated her status as a Hollywood star but also contributed to the success and impact of the films she appeared in. In summary, Claudette Colbert's impact on pre-Code Hollywood was marked by her portrayals of independent and progressive female characters, her willingness to tackle controversial subjects, and her versatility as an actress. Her contributions to this era helped shape the evolving landscape of American cinema and influenced the portrayal of women and relationships on screen during a time of significant social change. |
BOOM TOWN (1940)
CLEOPATRA (1934)
HOLE IN THE WALL, THE (1929)
IMITATION OF LIFE (1934)
IT HAPPENED ONE NIGHT (1934)
IT'S A WONDERFUL WORLD (1939)
MANSLAUGHTER (1930)
MIDNIGHT (1934)
SECRET FURY, THE (1950)
SLEEP, MY LOVE (1948)
SO PROUDLY WE HAIL (1943)
THREE CAME HOME (1950)
THREE CORNERED MOON (1933)
THUNDER ON THE HILL (1951)
TOMORROW IS FOREVER (1946)
CLEOPATRA (1934)
HOLE IN THE WALL, THE (1929)
IMITATION OF LIFE (1934)
IT HAPPENED ONE NIGHT (1934)
IT'S A WONDERFUL WORLD (1939)
MANSLAUGHTER (1930)
MIDNIGHT (1934)
SECRET FURY, THE (1950)
SLEEP, MY LOVE (1948)
SO PROUDLY WE HAIL (1943)
THREE CAME HOME (1950)
THREE CORNERED MOON (1933)
THUNDER ON THE HILL (1951)
TOMORROW IS FOREVER (1946)
Quotes:
"Most of us don't know about happiness until it's over."
[after having been asked to write her autobiography] "Books written by actresses are for the birds. Besides, what would I write? That somebody was looking for an Italian type to play the ingénue in a film and I might do?" [to Bette Davis] "You're the luckiest of us all. You started playing older women when you were young. So you never had to bridge the gap." [on Clark Gable] "I was so happy to be within two feet of him." [on winning the Best Actress Oscar for It Happened One Night (1934)] "I was surprised when I got the prize. I really had no idea I would get it. In fact, I was ready to leave for New York the night they called to tell me about it. Dressed in a mousy brown suit, I was escorted into the banquet hall full of diamonds and tail coats. It was especially embarrassing because I imagined they thought I was putting on an act, making an entrance." [on the Motion Picture Production Code] "They were so strict in the old days. Back then, everything had to be symbolic. As he could not show what they can now, DeMille had to figure out ways to make people imagine what was going on. It shows you don't have to be stark naked rolling around in bed to make your point." [on Cleopatra (1934)] "In one scene Cecil B. DeMille wanted Caesar to drop rose petals on my feet. I screamed with laughter when he told me that. I said, "He can touch my foot, he can even bite it, but if he drops rose petals on it, I'll just burst out laughing." He finally agreed - it was one of the few times I ever won an argument with him." [on Greta Garbo] "Garbo is not a beautiful woman. But she can enter a room with her long, slow stride and give an illusion of beauty and glamor. If I tried to do that I should be simply ridiculous." - Claudette Colbert |
Trivia:
Most shots of her in her films were of her left profile. She considered her left side to be her best and only rarely allowed full face or right profile shots; an injury to her nose had created a bump on the right. Once an entire set had to be rebuilt so she would not have to show her right side, resulting in some cameramen calling the right side of her face "the dark side of the moon".
She was so convinced that she would lose the Oscar competition in 1935 to write-in nominee Bette Davis, that she decided not to attend the awards ceremony. Contrary to her belief, when she won that year for her performance in It Happened One Night (1934), she was summoned from a train station to pick up her Oscar. 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: It Happened One Night (1934), Imitation of Life (1934) and Midnight (1939). The shelving of a proposed movie about "Joan of Arc", at Warner Brothers in 1936, to be directed by Anatole Litvak, was considered one of her greatest disappointments in her career. Was slated for the lead role of Margot Channing in All About Eve (1950) when she suffered a slipped disc while filming a violent scene (fighting off an attempted rape by a Japanese soldier) in Three Came Home (1950). The injury put her into traction. The role was then offered to Bette Davis, who had recently been released from Warner Brothers and was widely thought to be at the end of her career. It would become a legendary role for Davis, who was nominated for a Best Actress Oscar playing Margot Channing. One of Cecil B. DeMille's favorite actresses. She starred in three of his movies: The Sign of the Cross (1932), Four Frightened People (1934), and Cleopatra (1934). DeMille offered her the role of Mollie Monahan in Union Pacific (1939), but she turned it down and the part went to Barbara Stanwyck. |
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Constance Bennett(1904-1965)
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Constance Bennett was an American actress who achieved fame during the Golden Age of Hollywood. Born on October 22, 1904, in New York City, she came from a prominent theatrical family, with her father being the famous stage actor Richard Bennett, and her sisters Barbara and Joan also became actresses.
Early Life and Career Beginnings: Constance Bennett was exposed to the world of acting from a young age due to her family's background in theater. She made her stage debut at the age of 18 in a play titled "The Harvard Man" in 1923. Her early theater work laid the foundation for her future career in the entertainment industry. Hollywood Success: In the late 1920s, Bennett moved to Hollywood and signed a contract with Pathé Exchange. She made her film debut in "Cytherea" (1924), but it wasn't until the early 1930s that she gained significant attention in Hollywood. Bennett's allure and sophistication made her a popular leading lady of the time. She appeared in a string of successful films, including "What Price Hollywood?" (1932), directed by George Cukor, and "Bed of Roses" (1933). Pre-Code Hollywood and Versatility: During the pre-Code era, Constance Bennett's career flourished, and she was known for her versatility as an actress. Like many stars of the time, she embraced roles that explored more adult and controversial themes. Her performances in films like "Moulin Rouge" (1934) and "The Affairs of Cellini" (1934) demonstrated her ability to tackle both drama and comedy with equal skill. Transition to Later Roles: As the Production Code began to be strictly enforced in Hollywood in the mid-1930s, the industry's content became more conservative. Bennett's pre-Code success transitioned into a new phase of her career, and she continued to appear in various films throughout the 1930s and 1940s, including romantic comedies and dramas. Later Career and Television Work: In the 1950s, Constance Bennett started making appearances on television, including guest roles in popular shows of the time. She also took on stage roles, returning to her roots in the theater. While her film career remained active, television provided new opportunities for her to connect with audiences. Personal Life and Legacy: Constance Bennett was married several times and had two daughters. She was known for her wit, charm, and elegance, both on and off the screen. Throughout her career, she maintained a glamorous image that added to her allure as a Hollywood star. Tragically, Constance Bennett passed away at the age of 60 on July 24, 1965, due to a cerebral hemorrhage. Her contributions to cinema and her impact on the Golden Age of Hollywood are remembered fondly, and she remains an enduring figure in the history of American film. |
Constance Bennett had a notable impact on pre-Code Hollywood through her performances in films that challenged traditional societal norms and pushed the boundaries of what was acceptable on screen during that era. The pre-Code period, which lasted from the late 1920s to 1934, allowed for more freedom in filmmaking, and actors like Bennett took advantage of this creative latitude to explore more complex and unconventional roles. Here are some ways she made her mark:
Embracing Modern Women: Bennett often portrayed modern, independent, and self-assured women in her pre-Code films. These characters were unafraid to challenge authority, pursue their desires, and make their own choices, defying the traditional gender roles and expectations of the time. Her portrayals resonated with audiences and contributed to the changing perceptions of women in society. Tackling Controversial Themes: Pre-Code Hollywood was known for exploring controversial subjects and taboo themes. Bennett took on roles that involved extramarital affairs, seduction, and complex romantic relationships. Her characters in films like "What Price Hollywood?" (1932) and "Bed of Roses" (1933) showcased the complexities of love and relationships, challenging the notion of traditional morality. Embracing Sophistication and Glamour: Constance Bennett was renowned for her sophisticated and glamorous image, which became a hallmark of her pre-Code persona. Her elegance and charm added to the allure of her characters, making them even more captivating to audiences. Displaying Versatility: Bennett demonstrated her versatility as an actress in pre-Code Hollywood by successfully tackling both dramatic and comedic roles. She had a natural flair for comedy, which she showcased in films like "Merrily We Go to Hell" (1932) and "Our Betters" (1933), while also delivering powerful dramatic performances in films like "Rockabye" (1932). Collaborating with Prominent Directors: During the pre-Code era, Bennett collaborated with notable directors who were known for their innovative and daring approaches to filmmaking. Working with directors like George Cukor and Sidney Franklin, Bennett's performances benefitted from their artistic visions, contributing to the overall impact of the films she appeared in. Overall, Constance Bennett's impact on pre-Code Hollywood can be attributed to her willingness to take on complex and challenging roles that reflected the changing societal attitudes of the time. Her portrayals of strong, independent women and her ability to handle controversial themes added depth and richness to the characters she portrayed, making her a significant figure during this pivotal era in American cinema. |
Quotes:
"I'm a lot more sartorial than thespian. They come to see me and go out humming the costumes."
[on Marilyn Monroe] "There's a broad with her future behind her." [Asked how she maintained her youthful appearance and enormous drive.] "If there's a secret to it, it's working like a beaver to be happy. What I mean is I've always been interested in everything I did, or else I wouldn't do it. When you're that interested in anything, you're happy." - Constance Bennett |
Trivia:
She was a sister of Barbara Bennett and Joan Bennett.
Accepted the role of Ellie Andrews in It Happened One Night (1934), but later turned it down when Columbia Pictures would not allow her to produce the film herself. Claudette Colbert was then given the part and went on to win the Best Actress Oscar for her performance. Was considered in her heyday to be one of the most smartly dressed women in Hollywood, A film magazine in 1941 claimed she had spent a quarter million on her wardrobe that year, a charge denied vehemently by the actress. Her 1931 contract with Warner Brothers, $300,000 for 2 films, made her the highest-paid film player up to that time and reportedly inspired tax legislation aimed at the film industry. She was a very active member of the Hollywood Democratic Committee and donated her time and money to many liberal causes (such as the creation of the United Nations) and political candidates (including Franklin D. Roosevelt, Henry Wallace, Adlai Stevenson, and John F. Kennedy) for most of her adult life. |
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Fay Wray(1907-2004)
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Fay Wray (born Vina Fay Wray) was a Canadian-American actress, best known for her iconic role as Ann Darrow in the classic 1933 film "King Kong." She was born on September 15, 1907, in Cardston, Alberta, Canada, and passed away on August 8, 2004, in New York City, USA.
Early Life: Fay Wray was the daughter of Joseph Heber Wray, a rancher and farmer, and Elvina Marguerite Jones, who was of British descent. She was the middle of three children. When she was still a child, her family moved to the United States and settled in Salt Lake City, Utah. Later, they moved to Arizona, where she attended Hollywood High School in Los Angeles. Career Beginnings: Fay Wray's interest in acting emerged at a young age, and she began her career as an extra in silent films during the 1920s. Her first credited role was in the film "Gasoline Love" (1923). Throughout the 1920s, she appeared in various small roles in both silent and early sound films, slowly gaining recognition as an actress. Breakthrough and "King Kong": Fay Wray's breakthrough role came in 1933 when she was cast as the female lead, Ann Darrow, in the groundbreaking adventure-horror film "King Kong." The film, directed by Merian C. Cooper and Ernest B. Schoedsack, became a massive hit and is considered a cinematic masterpiece. Wray's performance and her emotional connection with the giant ape Kong captivated audiences, making her an enduring symbol of classic Hollywood cinema. Later Career: Following the success of "King Kong," Fay Wray continued to act in various films throughout the 1930s. Some notable films from this period include "The Most Dangerous Game" (1932), "Mystery of the Wax Museum" (1933), and "Doctor X" (1932). However, despite her talent and popularity, she was often typecast in horror and adventure films, which limited her opportunities to showcase her full range as an actress. Later in her career, Wray transitioned to work on stage, radio, and television. She appeared in a few B-movies and television shows, but her fame never reached the same heights as during her "King Kong" days. Personal Life: Fay Wray married four times. Her first three marriages were to screenwriter John Monk Saunders, writer Robert Riskin, and neurosurgeon Sanford Rothenberg, respectively. Her fourth and final marriage was to Dr. Bert Nelson, with whom she remained until his death in 1982. She had three children, Susan Saunders, Robert Riskin Jr., and Victoria Riskin. Legacy: Fay Wray's role as Ann Darrow in "King Kong" remains her most memorable contribution to cinema. She became synonymous with the beauty-and-the-beast archetype and left an indelible mark on popular culture. Throughout her life, Wray was often asked about her experiences working on "King Kong," and she always spoke fondly of her time on the set. Fay Wray's status as a Hollywood legend endured, and she continued to be celebrated at film festivals and retrospectives well into her later years. Her contributions to cinema, particularly in pioneering early special effects and her portrayal of the unforgettable Ann Darrow, secured her a lasting place in the history of Hollywood's Golden Age. |
Fay Wray's impact on pre-Code Hollywood was notable, but it was not primarily due to her involvement in films that directly challenged the censorship restrictions of the era. Instead, her impact can be seen in other significant aspects of her career and the influence she had on the film industry during that time.
Rise to Prominence: Fay Wray's career gained momentum during the pre-Code era, with her breakthrough role as Ann Darrow in "King Kong" (1933). The film was released in March 1933, towards the end of the pre-Code era, but its success and cultural impact extended well beyond that period. "King Kong" showcased Wray's acting talent and made her a highly recognized and respected actress, contributing to the growing star system of Hollywood. Beauty and Talent: Wray's combination of beauty and acting ability made her a sought-after leading lady in the 1930s. While she did not often appear in pre-Code films that directly challenged social and moral conventions, her presence in various productions added to the overall allure and attraction of pre-Code Hollywood. Her star power was a significant factor in drawing audiences to the cinema during this period. Genre Diversity: While Fay Wray is most famous for her role in "King Kong," she worked in various genres during the pre-Code era. Her filmography included dramas, comedies, adventure films, and horror movies, showcasing her versatility as an actress. Her performances brought depth and emotional resonance to the characters she portrayed, contributing to the artistic quality of the films she appeared in. International Appeal: Fay Wray's talent and charm transcended national borders. Her films were well-received internationally, helping to strengthen Hollywood's global influence during the pre-Code era. As Hollywood movies reached a broader international audience, they also had an impact on societal perceptions and cultural exchange. Cultural Icon: "King Kong" became a cultural phenomenon, and Fay Wray's portrayal of Ann Darrow became iconic. The film's success highlighted the potential for special effects and the power of storytelling in cinema. Her image as the woman captured by a giant ape became an enduring symbol of classic Hollywood and an essential part of film history. While Fay Wray did not directly challenge censorship or societal norms in her film roles, her career and iconic status as a Hollywood leading lady contributed to the overall appeal and influence of pre-Code Hollywood. Her work and the success of "King Kong" played a role in shaping the trajectory of her career, the recognition of her talent, and the enduring legacy she left on the film industry. |
ANN CARVER'S PROFESSION (1933)
BEHIND THE MAKEUP (1930)
BELOW THE SEA (1933)
BLACK MOON (1934)
BOWERY, THE (1933)
CLAIRVOYANT, THE (1935)
COBWEB, THE (1955)
CRIME OF PASSION (1957)
DOCTOR X (1932)
FINGER POINTS, THE (1931)
JURY'S SECRET, THE (1938)
KING KONG (1933)
MOST DANGEROUS GAME, THE (1932)
MYSTERY OF THE WAX MUSEUM, THE (1933)
ONE SUNDAY AFTERNOON (1933)
SEA GOD, THE (1930)
VAMPIRE BAT, THE (1932)
WOMAN IN THE DARK (1934)
BEHIND THE MAKEUP (1930)
BELOW THE SEA (1933)
BLACK MOON (1934)
BOWERY, THE (1933)
CLAIRVOYANT, THE (1935)
COBWEB, THE (1955)
CRIME OF PASSION (1957)
DOCTOR X (1932)
FINGER POINTS, THE (1931)
JURY'S SECRET, THE (1938)
KING KONG (1933)
MOST DANGEROUS GAME, THE (1932)
MYSTERY OF THE WAX MUSEUM, THE (1933)
ONE SUNDAY AFTERNOON (1933)
SEA GOD, THE (1930)
VAMPIRE BAT, THE (1932)
WOMAN IN THE DARK (1934)
Quotes:
"At the premiere of King Kong (1933) I wasn't too impressed. I thought there was too much screaming... I didn't realize then that King Kong and I were going to be together for the rest of our lives, and longer..."
[2004] "Right after The Wedding March (1928) everything happened at once. Sound was coming in, and color was being used for the first time. It was very exciting to be a part of it." [on working with Lillian Gish in The Cobweb (1955)] "She was a lovely actress and I admired her very much. She was a very delicate and elegant lady." [2004, on The Wedding March (1928)] "That movie meant a lot to me; my heart was right up in my throat." [2004, on Doctor X (1932), Mystery of the Wax Museum (1933) and The Vampire Bat (1933)] "Those horror pictures were the parts I was being offered at the time, and the scream came into play in almost all of them. People today call them classics; that amuses me a little, because I had so many reservations about them when I made them. I thought they were much too gruesome." [2004] "When I shot my scenes, Kong wasn't there at all. I had to use my imagination, which was exciting and terrifying at the same time. Acting is about the imagination, that's the great joy of it. But nothing quite like it had been done before, so I was a little nervous about how it would all come together." "Every time I'm in New York, I say a little prayer when passing the Empire State Building. A good friend of mine died up there." - Fay Wray |
Trivia:
On August 10, 2004, two days after her death, the lights on the Empire State Building in New York City (scene of the climax from her most popular film, King Kong (1933), were dimmed for 15 minutes in her memory.
She spent time with and became friends with Peter Jackson, a major fan, while he was in the process of developing his remake of King Kong (1933). Before she passed on, Wray also met and became friendly with Naomi Watts, whom she also approved to play the part that Wray originated, 'Ann Darrow'. She is regarded as Hollywood's first "scream queen". This was due to the 1932-1933 season when she made the early Technicolor thrillers Doctor X (1932) and Mystery of the Wax Museum (1933) (both at Warner Brothers with Lionel Atwill). She also costarred in The Vampire Bat (1933) at Majestic (again with Atwill) and at RKO she made The Most Dangerous Game (1932) and, of course, King Kong (1933). Her film King Kong (1933) saved its studio, RKO Radio Pictures, from bankruptcy. She was nominated to be WAMPAS (Western Association of Motion Picture Advertisers) Baby Star of 1926 along with such young actresses as Mary Astor, Joan Crawford, Dolores Costello, Marceline Day, Dolores del Rio and Janet Gaynor. She was "almost" a vegetarian and always stuck to her rule not to eat late at night. She woke up long before sunrise and spent a lot of time writing. |
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Ginger Rogers(1911-1995)
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Ginger Rogers was an American actress, dancer, and singer who became one of Hollywood's most iconic stars during the Golden Age of cinema. She was born as Virginia Katherine McMath on July 16, 1911, in Independence, Missouri, USA. Rogers' extraordinary talent, charm, and grace made her a beloved figure in the world of entertainment.
Early Life and Dance Training: Ginger Rogers showed an early interest in performing and began taking dance lessons as a child. Her mother recognized her talent and encouraged her pursuit of a career in entertainment. By the age of 14, Rogers had already begun performing in vaudeville acts. Hollywood Debut: Rogers made her film debut in 1929 in the movie "A Night in a Dormitory." However, it was not until she signed with RKO Pictures in the early 1930s that her career gained momentum. Fred Astaire Partnership: Ginger Rogers is best known for her legendary partnership with Fred Astaire. They first appeared together in "Flying Down to Rio" (1933) and went on to star in nine musical films together, including classics like "Top Hat" (1935), "Swing Time" (1936), and "Shall We Dance" (1937). Their sparkling chemistry and outstanding dance routines made them one of the most beloved screen duos of all time. Dancing and Acting Talent: Ginger Rogers was not only an exceptional dancer but also a skilled actress. She proved her dramatic abilities in films like "Kitty Foyle" (1940), for which she won the Academy Award for Best Actress, showcasing her versatility beyond her musical roles. Success and Accolades: Throughout the 1930s and 1940s, Rogers enjoyed immense success, appearing in a string of hit films. She received several award nominations and won numerous accolades, including an Academy Award, a Golden Globe, and an Honorary Oscar for her contributions to film. Versatility in Film Roles: Beyond her work with Fred Astaire, Ginger Rogers had a successful solo career, appearing in a wide range of film genres, including comedies, dramas, and musicals. Her charisma and talent shone through in each role she took on. Later Career and Legacy: In the 1950s and 1960s, Rogers continued to act in films and on television, but her star gradually dimmed as new stars emerged. Nevertheless, she remained an enduring symbol of the Golden Age of Hollywood. Death: Ginger Rogers passed away on April 25, 1995, in Rancho Mirage, California, at the age of 83. She left behind a legacy of unforgettable performances and a lasting impact on the world of entertainment. Ginger Rogers will always be remembered as an exceptional dancer, talented actress, and one-half of one of the most remarkable screen partnerships in film history. |
Ginger Rogers 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. Rogers' talent, charm, and versatility as an actress were instrumental in shaping her success during this era.
Here are some ways Ginger Rogers contributed to pre-Code Hollywood films: Versatile Performances: Rogers showcased her versatility in various pre-Code films, taking on roles in comedies, dramas, and musicals. Her ability to handle different genres and character types made her a sought-after actress in Hollywood. Dance and Musical Talents: Even before her famous partnership with Fred Astaire, Rogers displayed her exceptional dancing and singing skills in pre-Code musicals. Films like "42nd Street" (1933) and "Gold Diggers of 1933" allowed her to showcase her dance abilities, setting the stage for her later collaborations with Astaire. Romantic Comedies: Rogers excelled in romantic comedies during the pre-Code era, where she displayed her comedic timing and on-screen chemistry with leading men. She had a talent for adding charm and wit to her characters, making her performances memorable and endearing. Challenging Roles: Pre-Code Hollywood was known for pushing the boundaries of acceptable content, and Rogers was willing to take on more daring and complex roles. She portrayed characters who faced social and moral dilemmas, adding depth and authenticity to her performances. Career Breakthrough: The pre-Code era played a crucial role in launching Rogers' career and establishing her as a prominent Hollywood actress. It provided her with opportunities to showcase her talents and gain recognition in the industry. Ginger Rogers' contributions to pre-Code Hollywood films laid the foundation for her successful career in the years to come. Her talent and charisma on screen, particularly in musicals, established her as one of the most beloved actresses of her time and an enduring icon of the Golden Age of Hollywood. |
42ND STREET (1933)
BACHELOR MOTHER (1939)
BLACK WIDOW (1954)
CAREFREE (1938)
GAY DIVORCEE, THE (1934)
HEARTBEAT (1946)
KITTY FOYLE (1940)
LUCKY PARTNERS (1940)
MONKEY BUSINESS (1952)
STAGE DOOR (1937)
STAR OF MIDNIGHT (1935)
TALES OF MANHATTAN (1942)
TENDER COMRADE (1943)
TIGHT SPOT (1955)
TIP-OFF, THE (1931)
TOM, DICK AND HARRY (1941)
TOP HAT (1935)
WEEKEND AT THE WALDORF (1945)
BACHELOR MOTHER (1939)
BLACK WIDOW (1954)
CAREFREE (1938)
GAY DIVORCEE, THE (1934)
HEARTBEAT (1946)
KITTY FOYLE (1940)
LUCKY PARTNERS (1940)
MONKEY BUSINESS (1952)
STAGE DOOR (1937)
STAR OF MIDNIGHT (1935)
TALES OF MANHATTAN (1942)
TENDER COMRADE (1943)
TIGHT SPOT (1955)
TIP-OFF, THE (1931)
TOM, DICK AND HARRY (1941)
TOP HAT (1935)
WEEKEND AT THE WALDORF (1945)
Quotes:
"When two people love each other, they don't look at each other, they look in the same direction."
[early 1930s]" I don't know which I like best. I love the applause on the stage. But pictures are so fascinating - you reach many millions through them. And you make more money, too." "[on her partnership with Fred Astaire] After all, it's not as if we were Bud Abbott and Lou Costello. We did have careers apart from each other." "The most important thing in anyone's life is to be giving something. The quality I can give is fun, joy and happiness. This is my gift." [on working with Katharine Hepburn] "She is snippy, you know, which is a shame. She was never on my side." "Rhythm is born in all of us. To be a desirable dancing partner you don't have to do all the intricate fancy steps that happen to be in vogue. All you have to do is be a good average dancer and anybody who spends the time and effort can accomplish this." "Part of the joy of dancing is conversation. Trouble is, some men can't talk and dance at the same time." "On her second husband, Lew Ayres: I was very much in love with a man who was, to my way of thinking, the handsomest leading man in the motion picture world. Lew was a natural when it came to acting; he always had a sixth sense about the right thing to do. I thought his acting talents never reached their full potential, but in watching many of his performances through the years, I've found it difficult to fault his technique or emotional impulse. His intellectual side was a surprise to me and frequently made me feel a mite inferior. He knew something about everything." - Ginger Rogers |
Trivia:
Was Hollywood's highest-paid star of 1942.
In 1986, Fred Astaire recalled, "All the girls I ever danced with thought they couldn't do it. So they always cried. All except Ginger. No, no, Ginger never cried". Turned down Donna Reed's role in It's a Wonderful Life (1946). Fred Astaire confided to Raymond Rohauer, curator of New York Gallery of Modern Art, "Ginger was brilliantly effective. She made everything work fine for her. Actually she made things very fine for both of us and she deserves most of the credit for our success". She and Fred Astaire acted in 10 movies together: The Barkleys of Broadway (1949), Carefree (1938), Flying Down to Rio (1933), Follow the Fleet (1936), The Gay Divorcee (1934), Roberta (1935), Shall We Dance (1937), The Story of Vernon and Irene Castle (1939), Swing Time (1936), and Top Hat (1935). Turned down lead roles in To Each His Own (1946) and The Snake Pit (1948). Both of these roles went on to be played to great acclaim by Olivia de Havilland. Replaced Judy Garland in the film The Barkleys of Broadway (1949) after Garland was suspended from MGM due to her tardiness. She turned down Barbara Stanwyck's role in Ball of Fire (1941). |
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glenda farrell(1904-1971)
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Glenda Farrell, born on June 30, 1904, in Enid, Oklahoma, was an American actress known for her versatile talents and dynamic performances on both stage and screen. She achieved prominence during Hollywood's Golden Age and became recognized for her signature sassy and fast-talking persona. Farrell's career spanned several decades, and she left an enduring mark on classic Hollywood cinema.
Early Life and Stage Beginnings: Glenda Farrell grew up in a family that was supportive of her artistic inclinations. She started her career in theater and made her Broadway debut in the 1920s, which eventually led to opportunities in film. Film Career: Farrell's film debut came in the silent era, and she transitioned to talkies with ease. Her vivacious energy and ability to deliver snappy dialogue quickly garnered attention from audiences and filmmakers alike. Dynamic Persona: One of Farrell's hallmarks was her dynamic and sassy persona. She was known for her rapid-fire delivery, witty comebacks, and energetic presence, which made her a standout in her roles. Pre-Code Era: Farrell'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 challenged societal norms and defied traditional gender roles. Collaboration with Warner Bros.: Farrell was closely associated with Warner Bros., where she appeared in numerous films that showcased her talents. She often collaborated with fellow actress Joan Blondell, and their on-screen chemistry was celebrated. Versatility in Genres: Farrell's versatility was evident in her ability to excel in various genres, including crime dramas, comedies, and musicals. Her performances brought depth and entertainment to a wide range of characters. Character Roles: Farrell often portrayed working-class and street-smart characters, reflecting the realities of urban life during the early 20th century. Her portrayals were relatable and added authenticity to the films. Later Career: After the pre-Code era, Farrell continued to act in films and also made appearances on television. While her film roles became less frequent, she remained a beloved figure in the entertainment industry. Personal Life: Glenda Farrell's personal life was relatively private, and she was known for her dedication to her craft. She married writer-director Dr. Henry Ross in 1931. Death: Glenda Farrell passed away on May 1, 1971, at the age of 66, in New York City. Glenda Farrell's legacy is marked by her vibrant performances, her contributions to classic Hollywood cinema, and her impact on the pre-Code era. Her memorable characters and spirited on-screen presence continue to be celebrated by film enthusiasts, and she remains a beloved figure in the history of American cinema. |
Glenda Farrell made a notable impact on pre-Code Hollywood through her vivacious and dynamic performances that often defied traditional gender roles and embraced the era's willingness to explore daring and provocative themes. 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. Farrell's contributions during this time played a key role in shaping the era's cinematic landscape:
Strong and Independent Characters: Glenda Farrell frequently portrayed characters who were independent, witty, and unafraid to challenge societal norms. Her roles often featured women who took charge of their lives and pursued their goals with determination. Embracing Bold Narratives: Farrell's pre-Code films often featured plots that pushed the boundaries of acceptability, exploring themes such as sexuality, relationships, and societal taboos. Sassy and Fast-Talking Persona: One of Farrell's trademarks was her sassy and fast-talking persona. Her ability to deliver sharp and witty dialogue added depth and humor to her performances. Chemistry with Co-Stars: Farrell's on-screen chemistry with her co-stars, such as Joan Blondell, further enhanced the appeal of her films. Their dynamic interactions contributed to the films' entertainment value. Variety of Genres: Farrell's versatility allowed her to excel in a range of genres, from comedies to crime dramas. Her performances resonated with audiences regardless of the genre. Portraying Working Women: Many of Farrell's characters were working women, reflecting the changing roles and opportunities for women in society during the early 20th century. Collaboration with Warner Bros.: Glenda Farrell was closely associated with Warner Bros., where she appeared in a string of successful films that capitalized on her unique talents. Notable pre-Code films featuring Glenda Farrell include: "Little Caesar" (1931) "Gold Diggers of 1933" (1933) "I Am a Fugitive from a Chain Gang" (1932) "Life Begins" (1932) Glenda Farrell's contribution to pre-Code Hollywood lies in her ability to bring vibrant and complex characters to life, embracing the era's exploration of societal norms and relationships. Her performances added depth, humor, and a touch of realism to the narratives, making her an indelible part of the pre-Code cinematic landscape. |
BIG SHAKEDOWN, THE (1934)
BREAKFAST FOR TWO (1937)
BUREAU OF MISSING PERSONS (1933)
CITY WITHOUT MEN (1943)
DARK HAZARD (1934)
HEAT LIGHTING (1934)
I AM A FUGITIVE FROM A CHAIN GANG (1932)
I LOVE TROUBLE (1947)
I'VE GOT YOUR NUMBER (1934)
JOHNNY EAGER (1941)
KEYHOLE, THE (1933)
LITTLE CAESAR (1930)
MAN'S CASTLE, A (1933)
MARY STEVENS, M.D. (1933)
MYSTERY OF THE WAX MUSEUM, THE (1933)
NIGHT FOR CRIME (1942)
SECRET BRIDE, THE (1934)
TALK OF THE TOWN, THE (1942)
THREE ON A MATCH (1932)
BREAKFAST FOR TWO (1937)
BUREAU OF MISSING PERSONS (1933)
CITY WITHOUT MEN (1943)
DARK HAZARD (1934)
HEAT LIGHTING (1934)
I AM A FUGITIVE FROM A CHAIN GANG (1932)
I LOVE TROUBLE (1947)
I'VE GOT YOUR NUMBER (1934)
JOHNNY EAGER (1941)
KEYHOLE, THE (1933)
LITTLE CAESAR (1930)
MAN'S CASTLE, A (1933)
MARY STEVENS, M.D. (1933)
MYSTERY OF THE WAX MUSEUM, THE (1933)
NIGHT FOR CRIME (1942)
SECRET BRIDE, THE (1934)
TALK OF THE TOWN, THE (1942)
THREE ON A MATCH (1932)
Quotes:
[on the arrival of talkies] "Not many actors could talk. So they shoved the ones that came from Broadway into everything. It all went so fast. I used to ask myself, 'What set am I on today? What script am I supposed to be doing - this one or that one? All I shouted for was a day off. We got it Sunday. But I had to stay in bed that one day to get ready for the next six days of shooting. I wonder if Jack Warner appreciated his movie-acting family?"
- Glenda Farrell |
Trivia:
The fast-talking reporter Torchy Blane, who Farrell played in a series of movies, was the inspiration for Lois Lane.
She was considered for the role of Belle Watling in Gone with the Wind (1939), which eventually went to Ona Munson. Had her cat "Frankie" fitted for glasses by a Hollywood optician after noticing the animal was continually bumping into furniture all over the house. She appeared in eight films with Joan Blondell: Three on a Match (1932), Blue Steel (1934), 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). In 1938 she was elected honorary Mayor of Hollywood, beating out Bing Crosby and Lewis Stone. She appeared in three films that were nominated for the Best Picture Academy Award winners: I Am a Fugitive from a Chain Gang (1932), Lady for a Day (1933) and The Talk of the Town (1942). |
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Greta Garbo(1905-1990)
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Greta Garbo, born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, was a Swedish actress who became one of the most iconic and enigmatic stars of Hollywood's Golden Age. Known for her captivating beauty, unique screen presence, and exceptional talent, Garbo is remembered as one of the greatest actresses in the history of cinema.
Early Life and Career Beginnings: Greta Garbo grew up in a working-class family in Stockholm. She had a modest upbringing and initially worked as a sales clerk at a department store. However, her dream was to become an actress, and she attended drama school to pursue her passion. Swedish Films: Garbo's first significant break came in the silent film era when she starred in Swedish films like "The Saga of Gosta Berling" (1924), directed by Mauritz Stiller. Her talent and beauty attracted attention, and Hollywood soon took notice. Hollywood Stardom: In 1925, Garbo was invited to Hollywood by MGM studio head Louis B. Mayer. Her first Hollywood film was "Torrent" (1926), and she quickly gained popularity as a silent film actress. Her role in "Flesh and the Devil" (1927), opposite John Gilbert, solidified her status as a star. Sound Era Success: Garbo successfully transitioned to sound films, and her voice, with its unique and slightly husky tone, further added to her allure. Some of her most famous roles were in films like "Anna Christie" (1930), "Grand Hotel" (1932), and "Camille" (1936). Retirement from Acting: Despite her success, Greta Garbo was known for her desire for privacy and often shunned the publicity that came with stardom. In 1941, at the age of 36, she decided to retire from acting, leaving behind a remarkable body of work. Later Life: After her retirement, Garbo lived a reclusive life and avoided the public eye. She occasionally traveled and had a few business ventures, but she maintained her privacy until her death. Legacy: Greta Garbo's legacy as a cinematic legend endures to this day. Her performances were marked by her intense screen presence, emotional depth, and ability to convey complex emotions without words. She was nominated for three Academy Awards and received an Honorary Oscar in 1954 for her unforgettable contributions to film. Death: Greta Garbo passed away on April 15, 1990, in New York City, at the age of 84. Her death marked the end of an era in Hollywood, but her impact on cinema remains timeless. Greta Garbo's mystique and talent have continued to fascinate audiences and inspire generations of actors and filmmakers. |
Greta Garbo 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. Garbo's talent, beauty, and allure as an actress were instrumental in shaping her success during this period.
Sensuality and Mystery: Garbo's enigmatic screen presence and natural sensuality were perfectly suited for the pre-Code era, which allowed for more explicit portrayals of romance and sexuality. Her performances exuded a mysterious allure that captivated audiences. Fearless Exploration of Complex Characters: Garbo fearlessly took on roles that explored complex and morally ambiguous characters. She portrayed strong, independent women who defied conventional norms, challenging traditional gender roles of the time. Romantic Dramas: Pre-Code Hollywood was known for its exploration of passionate romances and forbidden love. Garbo starred in several romantic dramas, where she displayed her ability to convey intense emotions and create chemistry with her co-stars. Unconventional Storylines: Garbo appeared in films with unconventional storylines that delved into themes of infidelity, love triangles, and societal taboos. These films pushed the boundaries of acceptable content and contributed to the pre-Code era's reputation for bold storytelling. Critical and Commercial Success: Greta Garbo's pre-Code films were not only critically acclaimed but also commercially successful. Her star power and ability to draw audiences to the theaters were essential to the success of these films. Notable pre-Code films featuring Greta Garbo include: "Anna Christie" (1930) "Mata Hari" (1931) "Grand Hotel" (1932) "Queen Christina" (1933) "Anna Karenina" (1935) - Though slightly after the strict enforcement of the Production Code, this film has pre-Code elements. Greta Garbo's contributions to pre-Code Hollywood films solidified her status as one of the most alluring and iconic actresses of the era. Her daring portrayals of complex characters and exploration of intense romances made her an unforgettable presence on the silver screen. Garbo's legacy as a pre-Code Hollywood star remains an essential part of her lasting impact on the world of cinema. |
ANNA CHRISTIE (1930)
ANNA CHRISTIE (German Version) (1930)
AS YOU DESIRE ME (1932)
CAMILLE (1936)
CONQUEST (1937)
FLESH AND THE DEVIL (1927)
GRAND HOTEL (1932)
INSPIRATION (1931)
KISS, THE (1929)
LOVE (1927)
MATA HARI (1931)
MYSTERIOUS LADY (1928)
NINOTCHKA (1939)
PAINTED VEIL, THE (1934)
QUEEN CHRISTINA (1933)
ROMANCE (1930)
SINGLE STANDARD, THE (1927)
SUSAN LENOX: HER FALL AND RISE (1931)
TEMPTRESS, THE (1926)
TORRENT (1926)
TWO-FACED WOMAN (1941)
WILD ORCHIDS (1929)
WOMAN OF AFFAIRS, A (1928)
ANNA CHRISTIE (German Version) (1930)
AS YOU DESIRE ME (1932)
CAMILLE (1936)
CONQUEST (1937)
FLESH AND THE DEVIL (1927)
GRAND HOTEL (1932)
INSPIRATION (1931)
KISS, THE (1929)
LOVE (1927)
MATA HARI (1931)
MYSTERIOUS LADY (1928)
NINOTCHKA (1939)
PAINTED VEIL, THE (1934)
QUEEN CHRISTINA (1933)
ROMANCE (1930)
SINGLE STANDARD, THE (1927)
SUSAN LENOX: HER FALL AND RISE (1931)
TEMPTRESS, THE (1926)
TORRENT (1926)
TWO-FACED WOMAN (1941)
WILD ORCHIDS (1929)
WOMAN OF AFFAIRS, A (1928)
Quotes:
"Life would be so wonderful if we only knew what to do with it."
[on her famous Grand Hotel (1932) quote] "I never said, "I want to be alone". I only said, "I want to be left alone". There is a whole world of difference." "I don't want to be a silly temptress. I cannot see any sense in getting dressed up and doing nothing but tempting men in pictures." "The story of my life is about back entrances, side doors, secrets elevators and other ways of getting in and out of places so that people won't bother me." "I live like a monk: with one toothbrush, one cake of soap, and a pot of cream." "I am not proud of being a film star. I have no reason to be. Compared with other professions, what I am doing is so unimportant." "There are some who want to get married and others who don't. I have never had an impulse to go to the altar. I am a difficult person to lead." - Greta Garbo |
Trivia:
She disliked Clark Gable, a feeling that was mutual. She thought his acting was wooden while he considered her a snob.
Left John Gilbert standing at the altar in 1927 when she got cold feet about marrying him. She was prone to chronic depression and spent many years trying to "cure" it through Eastern philosophy and a solid health food regimen. However, she never gave up smoking and cocktails. She was criticized for not aiding the Allies during WWII, but it was later disclosed that she had helped Britain by identifying influential Nazi sympathizers in Stockholm and by providing introductions and carrying messages for British agents. Although it was believed that she lived as an invalid in her post-Hollywood career, this is incorrect. She was a real jet setter, traveling with international tycoons and socialites. In the 1970s she traveled less and grew more and more eccentric, although she still took daily walks through Central Park with close friends and walkers. In the late 1980s failing health decreased her mobility. In her final year it was her family that cared for her, including taking her to dialysis treatments. She died with them by her side. During filming, whenever there was something going on that wasn't to her liking, she would simply say, "I think I'll go back to Sweden!", which frightened the studio heads so much that they gave in to her every whim. Her sets were closed to all visitors and sometimes even the director. When asked why, she said, "During these scenes I allow only the cameraman and lighting man on the set. The director goes out for a coffee or a milkshake. When people are watching, I'm just a woman making faces for the camera. It destroys the illusion. If I am by myself, my face will do things I cannot do with it otherwise." In late 1934, after Queen Christina (1933) and The Painted Veil (1934), which were both huge hits in Europe (making twice their budget in the UK alone) but underwhelming US successes, she signed a contract with MGM saying that she would only make films under David O. Selznick and Irving Thalberg. Her next two films, Anna Karenina (1935) and Camille (1936), were notable hits at the US box office, and produced by Selznick and Thalberg respectively. In 1937 her contract had to be revised, as Selznick left the studio in 1935 and Thalberg had died. She made only three films after "Camille". Gary Cooper was reportedly one of her favorite actors. She requested him for several of her films, but nothing ever materialized. Her personal favorite of all her movies was Camille (1936). Was offered the role of Norma Desmond in Sunset Blvd. (1950), but turned it down. Gloria Swanson was cast instead and went on to receive a Best Actress Oscar nomination for her performance. Was offered the role of Mama Hanson in I Remember Mama (1948), but she turned it down. Irene Dunne was cast instead and went on to receive a Best Actress Oscar nomination for her performance. |
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Helen Twelvetrees(1908-1958)
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Helen Marie Jurgens, known professionally as Helen Twelvetrees, was born on December 25, 1908, in Brooklyn, New York. She was an American actress who made a significant impact during Hollywood's early years, particularly in the pre-Code era. Twelvetrees is remembered for her versatile acting skills and her contributions to a range of films that tackled daring and controversial themes.
Early Life and Acting Beginnings: Helen Twelvetrees developed an early interest in acting and began performing in school plays. Her passion for the craft led her to pursue a career in entertainment. She attended the American Academy of Dramatic Arts in New York City to hone her acting skills. Film Debut and Hollywood Career: Twelvetrees' film debut came in the late 1920s, and she quickly gained attention for her talent and screen presence. She signed a contract with Pathé Exchange and made a successful transition from silent films to talkies. Pre-Code Era Success: Twelvetrees' career coincided with the pre-Code era (late 1920s to 1934), allowing her to take on roles that explored daring and controversial themes. Her performances often involved emotionally charged characters dealing with personal struggles and societal challenges. Versatility and Range: Twelvetrees' acting abilities allowed her to excel in a range of genres, from dramas to comedies. She was known for her emotional depth and authenticity in her portrayals. Notable Pre-Code Films: Some of Helen Twelvetrees' notable pre-Code films include "Millie" (1931), "A Woman of Experience" (1931), and "Panama Flo" (1932). These films often addressed provocative subjects and showcased Twelvetrees' ability to tackle complex characters. Later Career and Decline: While Twelvetrees achieved success during the pre-Code era, her career faced challenges as the Production Code was more strictly enforced in the mid-1930s. She continued to act in films but struggled to find roles that matched her earlier achievements. Personal Life: Twelvetrees married actor Clark Twelvetrees in 1927. Their marriage ended in divorce in 1932. She faced personal difficulties, including financial struggles and health issues. Later Years and Passing: Helen Twelvetrees' career declined as the 1930s progressed. She appeared in fewer films and eventually retired from acting. She led a more private life in her later years and battled health problems. She tragically passed away at the age of 49 on February 13, 1958, due to an overdose of barbiturates. Helen Twelvetrees' legacy is marked by her contributions to the early years of Hollywood, particularly her roles during the pre-Code era. Her willingness to take on challenging and emotionally complex characters left an indelible mark on the cinematic landscape of her time. |
Helen Twelvetrees had a notable impact on pre-Code Hollywood films through her performances in a range of roles that often delved into 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. Twelvetrees' contributions during this time played a significant role in shaping the era's cinematic landscape:
Exploration of Taboos: Helen Twelvetrees' pre-Code films frequently explored taboo subjects such as extramarital affairs, sexuality, and societal norms. Her willingness to take on roles that tackled controversial themes contributed to the era's cinematic exploration of these topics. Complex Female Characters: Twelvetrees often portrayed multidimensional female characters who faced challenges, personal struggles, and moral dilemmas. Her ability to convey emotional depth added authenticity to her performances. Versatility in Roles: Twelvetrees showcased her versatility by taking on a range of roles, from melodramatic to comedic. Her performances resonated with audiences across different genres. Collaboration with Directors: Helen Twelvetrees worked with directors known for their innovative storytelling. Her collaborations with filmmakers of the time enhanced the impact of the films. Independent and Strong-Willed Characters: Many of Twelvetrees' characters were independent and strong-willed women who defied traditional gender roles. Her performances often showcased women asserting their agency. Romantic and Dramatic Roles: Twelvetrees' pre-Code films often featured romantic relationships that were characterized by their intensity and complexity. These relationships challenged traditional portrayals of love and romance. Realistic Portrayal of Women: Twelvetrees' characters often reflected the realities of women's lives during the early 20th century, addressing issues such as economic struggles and societal pressures. Notable pre-Code films featuring Helen Twelvetrees include: "Millie" (1931) "A Woman of Experience" (1931) "Panama Flo" (1932) "Unashamed" (1932) Helen Twelvetrees' impact on pre-Code Hollywood lies in her willingness to take on bold and challenging roles that pushed boundaries and addressed controversial subjects. Her performances added depth and authenticity to the narratives of the era, contributing to the overall evolution of cinematic storytelling during that time. |
Quotes:
"Between pictures I go away. I think that is the best way to achieve happiness in Hollywood, the only way to keep one's perspective. If you stay too close to the motion picture colony you lose your sense of values."
"I'm tired of taking the blame if the picture wasn't good. A star's years on the screen are limited. The featured players have many years. A star has too much footage in the picture. It seems to me I'm the perpetually pure-at-heart streetwalker, always drooping over bars while some director says, 'Now, Helen, you must be very sweet about this naughty line. Remember, you haven't the faintest idea what it means!'" - Helen Twelvetrees |
Trivia:
She met her first husband, Clark Twelvetrees, while both were enrolled at the American Academy of Dramatic Art. They eloped to Greenwich, Connecticut in 1927. They both worked in New York's theatre town -- she as an actress and he as a stage manager -- but he couldn't get his acting career going and turned to alcohol. They divorced in 1931 and he died seven years later of acute alcoholism following a street brawl.
Helen was an accomplished artist and painted scenes during her travels around the world with her military husband. First husband, Clark Twelvetrees was a despairing alcoholic who tried to commit suicide by throwing himself out a seventh floor window. He was saved by landing on a second floor awning. The tabloids accused Helen of deliberately pushing him out the window and was only released from custody after her husband regained consciousness and was able to tell the truth. Her first screen role required her to lisp and, following the movie's release, word spread that she had a serious speech impediment. Her career was born after noted artist George Bradshaw Crandall painted a portrait of her which made the cover of the Saturday Evening Post. She was a student at New York's Art Student League at the time studying music, painting and drama. The blonde haired beauty became known for playing suffering women and was called "the perfect ingenue". 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. |
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Irene Dunne(1898-1990)
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Irene Dunne, born Irene Marie Dunn on December 20, 1898, in Louisville, Kentucky, was an American actress and singer who became one of Hollywood's most acclaimed and versatile stars during the Golden Age of cinema. Known for her remarkable talent, beauty, and ability to excel in both dramatic and comedic roles, Dunne left an indelible mark on the entertainment industry.
Early Life and Career Beginnings: Irene Dunne grew up in a close-knit Irish Catholic family in Kentucky. She attended the Ursuline Convent School and later studied music at the Chicago Musical College. Initially, she pursued a career in music and performed as a concert vocalist. Hollywood Stardom: In the late 1920s, Dunne began appearing in stage productions in New York City. Her talent and charm caught the attention of Hollywood, and she was offered a contract by RKO Pictures in 1930. Her breakthrough film role came in "Cimarron" (1931), for which she received her first Academy Award nomination for Best Actress. Versatility and Success: Irene Dunne quickly gained a reputation for her versatility as an actress. She excelled in both dramatic and comedic roles, showcasing her talent in films like "Back Street" (1932), "Love Affair" (1939), "My Favorite Wife" (1940), and "The Awful Truth" (1937), the latter earning her another Oscar nomination. Musical Talents: In addition to her acting, Dunne showcased her exceptional singing voice in several musical films, adding to her appeal as a performer. Notable musicals include "Show Boat" (1936) and "Roberta" (1935). Awards and Accolades: Irene Dunne received five Academy Award nominations for Best Actress throughout her career, making her one of the most-nominated actresses of her time. She was also nominated for four Golden Globe Awards, winning once for "I Remember Mama" (1948). In 1958, she received a star on the Hollywood Walk of Fame. Later Career and Retirement: After a successful career in film, Dunne transitioned to television and made occasional stage appearances. She retired from acting in the 1950s to focus on charitable and philanthropic work. Personal Life: Irene Dunne married Dr. Francis Griffin in 1928, and they remained happily married until his death in 1965. The couple adopted a daughter named Mary Frances. Death: Irene Dunne passed away on September 4, 1990, at the age of 91, in Los Angeles, California. Her remarkable contributions to film and her lasting impact on the world of entertainment continue to be celebrated and admired by audiences and fellow artists alike. |
Irene Dunne, a talented and versatile actress, made notable 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. Dunne's talent, beauty, and charisma as an actress were instrumental in shaping her success during this period.
Strong Female Characters: Dunne was known for her portrayals of strong, independent, and sophisticated women. During the pre-Code era, she brought depth and complexity to her characters, often challenging traditional gender norms and societal expectations. Romantic Dramas: Pre-Code Hollywood was known for its exploration of passionate romances and forbidden love. Irene Dunne starred in several romantic dramas, where she displayed her ability to convey intense emotions and create chemistry with her co-stars. Musical Talents: Dunne showcased her exceptional singing abilities in pre-Code musical films, adding another dimension to her talent as an actress. Her musical roles highlighted her versatility and contributed to her popularity with audiences. Comedy: Dunne's comedic timing and charm were well-suited for pre-Code comedies. She brought a delightful wit to her roles, making her a natural fit for light-hearted and entertaining films. Collaboration with Prominent Directors: Irene Dunne worked with renowned directors during the pre-Code era, such as Leo McCarey and John M. Stahl. These collaborations resulted in critically acclaimed and successful films. Notable pre-Code films featuring Irene Dunne include: "Cimarron" (1931) "Back Street" (1932) "Symphony of Six Million" (1932) "The Secret of Madame Blanche" (1933) "The Silver Cord" (1933) Irene Dunne's contributions to pre-Code Hollywood films established her as a respected and versatile actress. Her ability to portray complex characters, tackle challenging themes, and excel in various genres helped solidify her status as one of the leading actresses of the era. Dunne's successful career continued after the end of the pre-Code era, and she remained a beloved figure in Hollywood for many years. |
Quotes:
"No triumph of either my stage or screen career has ever rivalled the excitement of trips down the Mississippi on the river boats with my father."
"Comedy demands more timing, pace, shading and subtlety of emphasis. It is difficult to learn but once it is acquired it can be easily slowed down and becomes an excellent foundation for dramatic acting." "Trying to build the brotherhood of man without the Fatherhood of God is like having the spokes of a wheel without the hub." "I appeared with many leading men. But working with Cary Grant was different from working with other actors - he was much more fun! I think we were a successful team because we enjoyed working together tremendously, and that pleasure must have shown through onto the screen. I will always remember two compliments he made me. He said I had perfect timing in comedy and that I was the sweetest-smelling actress he ever worked with." [1974] "I never formally retired. That would have been presumptuous. But an awful lot of the girls my age soldiered on in bad vehicles. I'd do a TV half hour drama every year just to keep my hand in it. But I couldn't run around with an axe in my hand like Bette [Bette Davis] and Joan [Joan Crawford] did to keep things going. The difference was I had a family and they didn't have one - only the all-mighty career." [on Ernst Lubitsch and Preston Sturges] "They were extraordinary. Their screenplays were full of wit and literacy, and they brought those qualities to the screen with such flair." "In 1936, RKO decided to loan me to Columbia to do a picture called Theodora Goes Wild (1936), about a zany woman who writes a book that scandalizes the town. I tried every way to get out of doing it. My husband and I even sailed off to Europe. But when I came back, the studio was right there to meet me, script in hand. So I did it, and now I'm glad I did." "Leo [Leo McCarey] was a very fast director. George Stevens was just the opposite, very slow. But he came well-prepared. When I did Penny Serenade (1941), which is still one of my favorites, we would have rehearsals on the set, and before rehearsals we would meet to discuss details of how a scene would be played." - Irene Dunne |
Trivia:
Her last official public appearance was in December 1985 for the Kennedy Center honors in Washington. She collapsed at the Saturday night reception after the group photograph of the honorees and was unable to attend the gala the next night.
She played Cary Grant's wife in three movies: The Awful Truth (1937), My Favorite Wife (1940) and Penny Serenade (1941). Loretta Young, was one of Irene's closest friends. Back in the day, Loretta had a girls club for her friends, they met once a week and some of the members were Anita Louise, Irene Dunne and Loretta's two sisters as well. Mary Pickford was considered for the role of Vinnie in Life with Father (1947). While Miss Pickford was interested in the project, director Michael Curtiz held out for Irene Dunne. He eventually won over the studio administration with convincing argument that Miss Dunne's box office appeal was a known quantity. Miss Pickford's, after such a long absence from the screen, was questionable. Was considered for the role of Mildred Rogers in Of Human Bondage (1934), but Bette Davis was cast instead. Was considered for the role of Scarlett O'Hara in Gone with the Wind (1939), which went to Vivien Leigh. |