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My First Blogging Award!!

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Before I talk about the blogging award, I want to acknowledge the anniversary of the death of the Queen of Precode herself, Mae West, who passed away 22nd November 1980. Through her two main films – ‘She Done Him Wrong’ and ‘I’m No Angel’ she created a great legacy of racy, entertaining yet intelligent plots, dialogue and film-making. She is gone but definitely not forgotten
Mae West: August 17, 1893 – November 22, 1980
Secondly, a special thanks to Margaret from The Great Katharine Hepburnwho gave me my first ever blogging award: the 7 × 7 link award. For this one I am to link posts that fit in the seven categories and then hand the award onto seven other bloggers. It is a few days late, but here is my contribution below:   
 
1.) Most beautiful pieceI was not sure about this category as I have done many pieces that feature beautiful pictures of Precode actresses and actors (see ‘Precode Colourisations’) but as an overall ‘beautiful piece’ is my post on ‘Lessons from Precode Hollywood’ which I discuss all the wonderful life lessons actresses such as Greta Garbo, Mae West and Ruth Chatterton have taught me through their best Precodes.

2.) Most helpful piece
For this topic I wanted to highlight my first ever post ‘In the Beginning.’ Although, it has appalling writing style and layout, it details a little bit of the history behind Precode Hollywood, mainly, the depression, the lead up to the decision to create the Hays Code and examples of classic movies from this era.  

3.) Most popular piece
My most popular post probably illustrates the mindset and interests of people interested in Hollywood, it is entitled ‘Nudity in Precode’. In it I feature pictures from the more racy movies, some with silhouetted and complete nudity. I also followed this post with two clips; one of Dolores del Rio in ‘Bird of Paradise’ and Busby Berkley’s famous dance number ‘Pettin’ inthe Park’ from ‘Gold-diggers of 1933’.

4.) Most controversial piece
Another feature in my series on forbidden topics and their presence in Precode is my most controversial post ‘Gay and Lesbian in Precode’. It details the depiction and prevalence of homosexual characters in the era which can tend to shock some viewers who believe these stereotypes – namely, the ‘sissy male character’ and the ‘masculine butch female character’ were not present in early cinema.      

5.) Surprisingly successful piece
I suppose this series appealed to the female audience and it really surprised me that my posts on ‘Precode Beauty Tips’ were so popular. I took most of my information from early Photoplay magazines and it was very interesting to discover how the actresses kept themselves beautiful and glamorous.

6.) Most underrated piece
Another piece I am proud of is a little study I did of remakes. Mainly those that were Precode films and were remade – and somewhat copied – in future film eras. My post called, ‘Beforethey were classics…’ discusses movies, such as, ‘The Wizard of Oz’, ‘The Letter’ and ‘Scarface’ which were classics for two generations of moviegoers.

7.) Piece you are most proud of -
It is strange, but the piece I am most proud of was not written by me but by Ian who created several articles for me on the lovely Mack Sennett comedienne, Marjorie Beebe. For this category I choose the review of ‘Cowcatcher’s Daughter’ because it seemed to standout to me for several reasons; first because it took me a while to see the picture and it is really a hilarious and charming short, second as it was the first time that I successfully created and posted my own set of animated gifs (I can attest is not an easy feet) and, in general, Ian has written an entertaining and very informative piece which I encourage everyone to read. 
 

I know I am supposed to pass it on to seven other bloggers but I don’t think I could choose just seven; so I pass it on to anyone who wants to highlight their best posts.


Marilyn Does Precode...

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Since I decided to limit my blog to only Precode material, I haven’t had the time to research outside that era into my full passion of classic film in general.  Like most girls, I am/ was sort of obsessed with Marilyn Monroe and when I found a collection of pictures done by photographer Richard Avedon where she emulates some of the most popular silent and Precode actresses I had to share it on my blog. Below is the beautiful Marilyn as Theda Bara, Lillian Russell, Clara Bow, Jean Harlow and Marlene Dietrich.  


Marilyn as Clara Bow



Marilyn as Jean Harlow



Marilyn as Lillian Russell

 
Marilyn as Theda Bara


Marilyn as Marlene Dietrich

Blogger Award!!!

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The wonderful Alyssa at Oh So Very Classic gave me my second ever blogging award: The Versatile Blogger Award. Firstly, I encourage everyone to have a look at Alyssa’s blog, it is only a month old but she had made a great start and has written some interesting initial articles.

 
Like most of the blogging awards, I have to post seven facts about myself and, in turn, pass the award on to 11 other bloggers.  But like Alyssa, I can’t find that many and I have nominated 7.
So here goes, my 7 facts about myself.
1)      I suppose to begin at the obvious, I am a 20-year-old student who lives in Australia (based at the moment in Brisbane)

2)      The first thing people usually notice about me is my height as I tower  over most of my friends and other girls my age at almost 6 foot tall

3)      I am almost finished my university degree; which I am studying a Bachelor of Business/ Bachelor of Arts majoring in Journalism, English Literature and Management

4)      I love classic film (hence the website)  but I also have a passion for literature, mainly, modernist novellas and articles

5)      I also have an unnatural addiction to politics and love watching election coverages and debates

6)      Like most journalism students and bloggers, I aspire, someday, to be a published author  

7)      Lastly, my favourite animal is the emu because they are elegant but simultaneously quirky  
 

Thanks again to Alyssa for the award and I pass the award on to 7 other bloggers:

 

Famous Precode Trials 1# Busby Berkeley

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Known by Precode and musical fans for his inventive and fascinating choreography, Busby Berkeley was also known by his friends and family to be on occasions a hostile and uncontrollable drinker.  It was on one night in 1935 that after attending a late night Hollywood party Busby, supposedly drunk, caused a horrific automobile accident instantly killing two people and injuring five others. But like most celebrities caught on the wrong side of the law in the Golden Age of Hollywood, the studios always came to their rescue.

Busby Berkeley aged 75
 
The Murder Trial of Busby Berkeley:
Busby Berkeley was born November 29, 1885 in Los Angeles, California to a stage actress mother and actor father.  Although he began his creative life as an actor, after World War I, Busby started directing the dance scenes of several 1920’s Broadway musicals. He created his mark by removing the idea of traditional female sexuality and the female form and focusing on the geometric patterns chorus girls could create. Busby’s first major film effort was in the Eddie Cantor musical ‘Night World’ (1932) and he soon progressed into creating more complicated and lavish productions, such as, in ‘Gold Diggers of 1933’ (1933) and ‘Footlight Parade’ (1933).
 
Berkeley was at the height of his career after the success of popular films, ‘Dames’ (1934) and ‘Wonder Bar’ (1934) and the opening of his new film ‘Gold-diggers of 1935’ (1935) when the fateful night occurred.  It was the night of the 8thof September 1935 and Busby was attending a party held by Warner Brothers production chief William Koenig in Pacific Palisades. Anxious to make an appointment with bandleader Gus Arnheim which was scheduled the next day, he left the party early and still very much affected by alcohol.  
 
What happened next is unclear, but witnesses testified that Berkeley who was driving down the Roosevelt Highway at high speeds, changed lanes suddenly and crashed head-on into a car and collided with another. This resulted in the death of two people, caused severe injuries to five others – with one later dying from the wounds - and left Busby badly cut and bruised.
As Busby was in the public eye and a popular and productive commodity for studios, he had to be protected. Therefore, to defend the legendary choreographer against second degree murder charges there could be only one contender, the brainy and equally legendary Hollywood lawyer Jerry Giesler. Giesler had become notorious in Hollywood for successfully defending big stars against a wide assortment of legal charges.  He would later be the lead in the Errol Flynn rape case, defend Robert Mitchum against illegal possession of drugs charges and be involved Charlie Chaplin’s paternity case. He was known for his crafty and outlandish style of conducting questioning and proving points.

Giesler (right) with Errol Flynn (centre)  
Giesler with Charlie Chaplin


Giesler would have to pull out all the tricks for Berkeley’s trial, with the big issues proving what in fact caused the crash. Was it alcohol as some police and witness reports claim or was it, as his defence team asserted, due to problems with his front tire and the dangerous nature of the stretch of road? However, the jury believed the defence with two trials resulting in a hung verdict and acquittal in the third.    


Busby Berkely arriving at the first trial brought in on a stretcher

Although the case is legally closed, many have questioned the verdicts and the influence of the studio system in achieving them. The main issue has been the question of ‘drink driving’. How could a jury believe that Berkeley with a history of alcoholism, who had just left a party was not intoxicated, an idea that was collaborated by several witnesses and policemen. Some sources have attributed this to the power of studio heads and even concluded that bribery was involved. However, none of this has been proven and, even though he was acquitted, it can be said the accident had a major impact on the life of Busby and his success as a director.   

What Would Hays Think? Top 15 Questionable Movie Posters

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In a time of ‘supposed’ self-imposed censorship, Precode posters seemed more racy and provocative then the films they advertised. Anxious to increase box-office profits during The Depression and the years of economic standstill, production companies used the simple and effective philosophy: ‘Sex Sells’ in the movie posters and advertisements of the early 1930’s. Below is the top 15 most provoking:  

15. Mystery of the Wax Museum (1933)

 
 
 
14. White Woman (1933)


13. Tanned Legs (1929)
 
 
12. Ex-Lady (1933)

The beginning of Bette’s illustrious career and a film that probably increased her hatred for Jack Warner.


11. Melody Cruise (1933)
 
 
10. Roman Scandals



9. Strictly Dishonorable (1931)


8. The Story of Temple Drake (1933)


7. Employee's Entrance (1933)


6. Wild Women of Borneo (1931)

I haven’t seen this film but I am assuming it is pure Precode exploitation masquerading as an educational documentary.  

5. The Mind Reader (1933)
 
 
4.Bad Girl (1931)
 
A nomination for the Best Picture Academy Award in 1931.  
 
3. Bitter Tea of General Yen (1933)
Apparently the girl in the picture is Barbara Stanwyck but I don’t see much of a resemblance.

 
2. Girl Without a Room (1933)
 
 
 1. Sin of Nora Moran (1933)
Admittedly, I haven’t seen this film either; however, going by this poster it looks interesting.

Merry Christmas Everyone...

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Merry Chistmas and a Happy New Year
from Jean and Me!!

Precode Cutie Remembers: Anita Page Interview - 1996

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Below is a little gem I found on YouTube while searching for information on the early Precode musicals. It is part 1 of a 9 part interview with Precode and silent actress, singer and dancer Anita Page. In it she details how she started her career, the transition from silents to talkies and the highs and lows of working for the studio that claimed to ‘have more stars than there are in heaven’ MGM. She also discusses many of the popular actors and figures of that time including Joan Crawford, Irving Thalberg, Louis B. Mayer, her ‘dear friend’ Marion Davies and her lover William Randolph Hearst, Ramon Navarro (who proposed to Anita during her short career) and many others.     

The footage, unlike many interviews available online, is uncut and very raw with the interviewers questions being audible as well as showing the problems 86-year-old Anita had remembering facts and staying focused. Anita appears to be such a lovely, carefree lady who – although she apparently lived a modest life after movies – still kept the glitz and the glamour of the industry that made her famous.  
 
I hope you all enjoy it!!

Life, Movies and that Blacklist: An Interview with Karen Morley

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As a sort of continuation from the video I posted a few days ago featuring an interview with Anita Page, I thought I would share an amazing article I found including an interview with controversial Precode actress Karen Morley. She was born Mildred Linton on December 12, 1909 in Ottumwa, Iowa and began her film career as a stand-in for Greta Garbo but soon moved into small walk-in roles and bit parts. Her most famous parts include playing a gangsters girl in ‘Scarface’ (1932), as Sonia alongside the Barrymore brothers in ‘Arsene Lupin’ (1932) and as Charlotte Lucas in an early film adaption of ‘Pride and Prejudice’ (1940). However, her life took a wrong turn in 1947 when she was forced to testify before the House Un-American Activities Committee and refused to answer questions about her involvement with the Communist Party.  Her career never recovered and she continued her interest in politics – even unsuccessfully running for Lieutenant Governor of New York in 1954 – until her death in 2003.

Below is an article by Michael Sragowwritten from an interview he had with Morley in 1999 to promote the upcoming screening of one of her films ‘Gabriel Over the White House’ (1933). The article was published April 21, 1999 and can be found here   
 
Karen Morley: Still Sexy After All These Blacklisted Years
 
LOS ANGELES -- There's an irony at the centre of The Unvanquished, the festival series "that honours filmmakers who have faced repression and censorship." The blacklisted honourees have been sharp, humorous individuals -- though at the time of their persecution they were pictured as dour zealots and ideologues. Last year's honouree, John Berry, zipped through an entire Borscht Belt routine before breaking matzo with me in a New York hotel room. This year, Karen Morley, who played a stunning moll named Poppy in Howard Hawks' Scarface back in 1932, suggested we talk at "a fun place to eat" when I picked her up at her North Hollywood home. Wearing a plastic fruit-and-vegetable bag instead of a rain hat to protect herself from a torrential downpour, she guided me ever closer to Burbank, reassuring me that I was "doing fine," then asking whether I "saw him yet."
 
The "him" turned out to be the trademark figure of Bob's Big Boy. Once inside, Morley ordered her favourite plate: deep-fried French toast and a thick ham steak.
 
Even when she's wearing makeshift rainwear or chowing down on unpretentious grub, there is something regal about Morley in her 90s -- a firm yet playful politesse. (She lists her age as 90; others say 93.) Apparently, she never lost her mastery of the flirtatious brand of mime that makes her a knock-out even in messed-up movies like Gabriel Over the White House (1933). She fended off a potential coffee spill tidal wave from the next booth with a raised-palm, raised-eyebrow combination that acted on the waitress like an SOS. She punctuated her replies to questions with gestures and expressions that either expanded her answers or made a whole line of inquiry seem flabby and unnecessary. There's nothing fake or sentimental about her -- whether talking about Old Hollywood or the Old Left, she has the welcome bluntness of a grande dame who no longer has to give a damn.
In an invaluable collection of interviews called Tender Comrades: A Backstory of the Hollywood Blacklist (edited by Pat McGilligan and Paul Buhle, and recently reprinted in paperback), Morley's questioners position her as a conscious fighter against anti-female, anti-proletarian stereotypes from her earliest days in Hollywood. But in our talk she emphasized instinct, emotion, and the honest job of movie acting. She was born in Ottumwa, Iowa -- "it means rippling water," she notes with amusement -- and came to Hollywood at age 14 because she was tubercular and needed its hot, dry, pre-smog climate. She was always a regular moviegoer, though not if the theatre manager warned her parents that a movie depicted a child, woman, or animal being abused.
Morley spent a year at UCLA until the family financing ran out, then worked in a department store ("but there didn't seem to be much future in that") and acted in workshop productions at the Pasadena Playhouse before making the rounds of Hollywood casting offices. She was at MGM one day when Hedda Hopper was asked to read lines with a young leading man named Kent Montgomery. Hopper said she was too old, but Morley volunteered -- "I would have tested the furniture if they'd asked me" -- and impressed the director, Clarence Brown, who put her into her first picture (Inspiration, in 1931). She became a contract player at Metro. Though she turned down roles she thought degrading, like that of a landowner's daughter who horsewhips peons then gets horsewhipped herself in Villa Rides, she says, "I mostly did what they gave me. I was glad to have the work."
Metro loaned her out to Howard Hawks for Scarface. Morley had her pick of the female leads: the blonde vamp Poppy or Scarface's brunette sister Cesca, for whom the gangster has an incestuous yen. Cesca was the juicier role, and she would have worn "the prettiest wig, full of black curls, and beige," but Morley chose to do Poppy. She says this was "probably the nicest thing I did in my life, since Ann Dvorak, a darling girl, would never have gotten the other part. She was all wrong for it. Playing the sister made a star of her." Scarface, Morley says, was "the most fun I had making a picture. Everybody was in awe of Paul Muni, he was so great. I was just barely of age, and that set was an exciting place to be. It was all men, and there I was prancing around in gowns that barely got past the censors."
 
Karen in 'Scareface' (1932)
Like the other directors she toiled for in the '30s, Hawks didn't confer with the actors. It was Morley who created her character's wary sensuality, put-down humour, and ambiguous emotions -- which are apparent even in the oft-reprinted shot of Poppy in the Paradise nightclub (a production still snapped on the set but not duplicated in the movie). Morley respected directors like Hawks for getting what they wanted without dithering with the ensemble, and Scarface is one of the few films she made that she says she'd like to see again. Her favourite line was someone else's: It belonged to Scarface's bodyguard, who tells his boss, after they take in a "serious" play, "I like a show with jokes."
So does Morley, in the proper place -- which was not Gabriel Over the White House. "It's about a crooked president who gets knocked in the head and becomes a liberal," she says; "It's so, so silly." Actually, the president doesn't become a liberal; he becomes a dictator. But as the president's secretary, Morley acted eye to eye with Walter Huston, who was "fantastic ... he didn't seem to be doing anything, until you saw him on the screen.
In her own terse way, Morley debunks the myths surrounding Hollywood communism. Some writers have suggested that Morley's appearances in King Vidor's salute to communal farming, Our Daily Bread (1934), and Michael Curtiz's muddled expose of labour conflict in coal towns, Black Fury (1935), proved her commitment to socially conscious roles. But Morley says simply that she was asked to do them.
Filmmaker/film historian Andrew Bergman has called Black Fury "one of the real frauds of the '30s," and Morley thinks her best scene was cut out of the movie -- a tawdry-poignant set piece of her as an 18-year-old girl trying to practice the tango in her kitchen according to a printed diagram while her siblings yowl and her mother attempts to do household chores. Studio heads made sure that makers of "A" features with social themes couldn't put across the squalor or the crazy-making closeness of real working-class life. And, as Morley notes, the few directors who had the power to do so were often "con-serv-atives, like John Ford and King Vidor. Ford made some of the most progressive pictures. I did Our Daily Bread for King and that made me popular in the Soviet Union; King was amused by that."
Morley portrays herself as a small-town girl who awoke to the wider world through personal, not intellectual, experience. For example, she was raised amid garden-variety antisemitism -- a mistrust of Jews as the Other. (She humorously screws up her face to express midwestern disapproval of "people who aren't like us," whether it's Jews or the Balinese girl she portrayed at the Pasadena Playhouse.) Yet her first husband, a solid Hollywood director named Charles Vidor, was a Hungarian Jewish emigrant.
She disdains political euphemisms: "I was a 'dirty Red,' redder than the rose" she snorts, as if answering a dare. "I was what you'd call a 'pillow Red' -- I became a Communist because I fell in love with a man who was a Red and entered the Army to take care of the Fascists, and I knew it would please him if I became one. There was very little that was political about it." The man was actor Lloyd Gough; he died in 1984. Morley says that it was in the "progressive B pictures" her husband made that raw, muckraking content entered Hollywood movies: "If these B-picture guys said 'Let's make a movie about crooked doctors,' a studio boss like Harry Cohn wouldn't care as long as they delivered it on time."
 
Karen during the  mid-1940's
While Gough was in the Army and stationed in North Carolina, Morley became involved in organizing tobacco workers. After the war, she brought her experience and energy to the union movement in Hollywood. "The Actors Guild had been held to a 10-year no-strike agreement, and when that 10 were up, the progressives in the Screen Actors Guild made all these forward-looking proposals, most of them written on my dining-room table. I was blacklisted because of this activity, so I'm not a typical anything. From that time on, I always had the studios on my neck."
After dodging HUAC subpoenas in the small town of La Quinta (outside Palm Springs), she moved to New York, where Gough found work in the theatre. But Morley was still too prominent a target to get a part on stage or screen. She never acted after 1951, when she appeared in a film she has no fondness for: Joseph Losey's turgid remake of Fritz Lang's M. ("There's no comparison," says Morley; "the first one was a pip.") She did run for lieutenant governor of New York in 1954, on the American Labor Party ticket, but says, "I don't like giving speeches -- I enjoy sitting on my rump. What happened was that someone put the arm on me. I liked getting the mail; I was 'Hon.' on everything for a few weeks. And I spoke out on women's rights, like equal pay for equal work. We haven't got around to that yet."
When it comes to Elia Kazan, she says, "I know he's old -- he's my age. But I don't think it's my place to forgive him. He was awful, and he is awful. If he wants to apologize to the people he ruined, that's up to him, and I would be delighted to hear it. If they forgive him, I'll forgive him -- but not until."
Karen in 2003 before her death during an interview with TCM
 

Forgotten Precode Dames 1# Winnie Lightner

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Haven’t heard of this Precode actress, singer and comedienne? Neither had I since a few weeks ago when I tumbled upon this controversial movie poster for ‘Gold Dust Gertie’. 

It was probably Winnie Lightner’s vaudeville style of performance, unusual looks and slightly older age that prevented her career from flourishing well into the Precode era but she should still be considered a great talent and a recommendation for any Precode musical fan.  
Winnie Lightner publicity shot, 1931
Winnie Lightner was born Winifred Reeves on September 17, 1899 in Greenport, New York. She was yet another performer born in the magic year of 1899 similar to other great actors, Humphrey Bogart, Fred Astaire, James Cagney and Gloria Swanson. Winnie began her career in vaudeville by joining her sister’s show in 1915 and became a big success overtaking her sister and the rest of their family. As her popularity grew she was offered parts in Broadway plays and revues between 1920 and 1928. These include the 20’s staples ‘George White’s Scandals’ (1922, 1923 and 1924), ‘Gay Paree’ (1925 and 1926) and ‘Harry Delmar’s Revels’ (1928). It was through this she earned her nickname ‘Song a Minute Girl’.

Like many performers of the day, Winnie in 1928 moved into films and Vitaphone shorts.  She made a splash in several that featured such musical numbers as, ‘We Love It’, ‘God Help a Sailor on a Night Like This’ and ‘That Brand New Model of Mine’. It was through these clips that Winnie became one of the first performers to be censored solely for her music and not for her dancing or appearance. The censorship battle heated up in Pennsylvania where the censorship board refused to release the shorts because of the content of the songs. Warner Brothers retaliated by requesting the board judge the films only on the visual elements but they ultimately refused.  Below is one of Winnie’s late musical revues, ‘Singing in the Bathtub’ from (1929).
 
 
 
The controversy over censorship only hastened Winnie’s entry into the larger and more widespread medium of feature length films. In 1929 she was offered a role in the now lost musical ‘Gold Diggers of Broadway’ which made her a massive icon and star. Warner’s was quick to snap up this rising talent who, although she was not young now aged 30, had obvious screen presence and innate comedic ability and signed her to a more permanent contract.  Her next film was a grand Technicolour display called ‘Hold Everything’ (1930) which continued the successful from her other film. Next was a small dramatic role in the mediocre film ‘She Couldn’t Say No’ (1930) followed by another Technicolour movie ‘The Life of the Party’ (1930) which saw the return of the wise-cracking and jovial Lightner.  


Her next three films ‘Sit Tight’ (1931), ‘Gold Dust Gertie’ (1931) and ‘Manhattan Parade’ (1932) were all to continue Winnie’s success in the musical genre but, while shooting these films, audiences began becoming bored with lavish musical movies and most of the song and dance numbers were cut from the films. With no musical roles forthcoming and still under contract, Warner Brothers decided to put Winnie in supporting roles in a number of second-rate dramas and comedies. These included two Loretta Young vehicles, ‘Play-Girl’ (1932) and ‘She Had to Say Yes’ (1933) and another film ‘Side Show’ (1931). Winnie was miserable in these roles and chose to leave Warner Brothers to become a freelance artist. She made two more films before her retirement, mainly playing small supporting roles, including MGM movie ‘Dancing Lady’ (1933) starring Joan Crawford and ‘I’ll Fix it’ (1934) for Columbia starring Jack Holt.   

After her retirement she used her spare time to focus on her personal life. In 1929 Winnie had met notable Precode director Roy Del Ruth (famous for ‘Blond Crazy’ (1931), ‘Taxi! (1932) and ‘Employee’s Entrance (1933)) during the making of his film ‘Gold Diggers of Broadway’ (1929). After her film career ended, Winnie married Del Ruth in 1934 and had a child, now successful cinematographer, Thomas Del Ruth in May 1942. Although Winnie reportedly had loved performing after her last picture she never returned to the entertainment industry or met many people from the film-making business. Her marriage to Del Ruth continued until his death in 1961 and Winnie died 10 years later on March 5, 1971 from a heart attack.     

Precode Fashion Fix: Metallics

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With economic depression raging through America, Precode films seemed to compensate by draping the goddesses of the screen in glittering gold, silver and bronze:


Lillian Roth and Frances Dee - The Shimmering Mermaids



Glittering Chorus Girls:


Chorus Girls in 'Murder at the Vanties' (1934)
Adrienne Dore
 
Goldwyn Girls in 'Roman Scandals' (1933)
 
Ruby Keeler and Dick Powell in 'Gold-diggers of 1933' (1933)
Mary Lou Dix
 
 
 
The Golden Stars of Hollywood:
 
Loretta Young
 
Katharine Hepburn in 'Christopher Strong' (1933)

 
Joan Crawford in 'Dancing Lady' (1933)

 
Greta Garbo
 
Clara Bow in 'Hoop-La' (1932)
 
And the Queen of all the glittering metallics:
 
Claudette Colbert as Cleopatra (1934)
 
 
 


 


The Tumultuous Life of Jack La Rue

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He would be known by contemporary film audiences as a hard-hitting film gangster and often the second fiddle to greater stars Humphrey Bogart, George Raft and Gary Cooper. In reality Jack La Rue’s life was more colourful and controversial then a simple, one-dimensional supporting role. Over his 81-years, he appeared in over 100 films, several Broadway productions, had intense political ambitions, endured three hostile marriages and several public run-ins with the police.


Jack La Rue was born Gaspere Biondolillo in New York City, New York on May 3, 1902. His acting career began in the early 1920’s when – after graduating from DeWitt Clinton High School – he was offered a role as an extra while working as a piano tuner. He began trying to land more film roles but soon discovered stage work was easier to find and debuted at the Empire Theatre in 1921 in a production of “Blood and Sand”. La Rue followed this with roles in stage plays “The Crooked Square” (1923), “Crime” (1927) and “Los Angeles” (early-1928).  

However, it was during the maiden run of Mae West’s famous production “Diamond Lil” in April 1928 playing one of her lovers ‘Juarez’ that he was discovered by director Howard Hawkes and brought to Hollywood to audition for the role of Rinaldoin a film called “Scarface” (1932). The film, unfortunately, proved to be the movie debut for George Raft who nabbed the role La Rue was vying for, mainly, because Hawke concluded La Rue was too tall for the part. However, La Rue’s palpable screen persona of the dark, cruel yet sexy gangster was becoming a popular film staple and he began working steadily in supporting, often uncredited, roles as henchmen and assistants to the gang leaders. These include films, such as, “Night World” (1932) and “While Paris Sleeps” (1932).

His first break-through role was in the Gary Cooper, Helen Hayes adaption of the Ernest Hemingway play, “A Farewell to Arms” (1932). Although, it was only a small role La Rue diverted from playing his signature ‘bad-man’ type to perform the role of the priest. He was featured in a staggering 12 films during 1932, including notable movies, “Three on a Match”, “Virtue”, “I Am a Fugitive from a Chain Gang” and “Mouth Piece”.  

His next big break and first starring role would come the following year in Paramount’s controversial film, “The Story of Temple Drake” (1933). An adaption of William Faulkner’s novel ‘Sanctuary’, George Raft was originally scheduled to play the part of ‘Trigger’ but he refused and was put on suspension. La Rue then promptly took over the role of the sadistic bootlegger who rapes complicated socialite Temple Drake (Miriam Hopkins) while she is resting in a barn connected to a mansion come speakeasy. He then abducts her and forces her into prostitution until, frustrated and broken, she kills him. The part was extremely demanding and shocking but allowed La Rue to extend his acting skills and successfully carry a film.

Although, La Rue never received a role equalling the notoriety and interest of his part in “Temple Drake”, his was not without work completing countless other movies and television series until his last appearance in the film, “Paesano: A Voice in the Night” (1977).

Jack La Rue’s personal life was more complex, public and turbulent then his professional one. He was married three times. The first was his longest union to socialite Connie Simpson which lasted from 1938 to 1946. The couple’s very public ups and downs culminated in even more flagrant divorce proceedings when La Rue followed Simpson to Reno where he resisted arrest by police who then claim he yelled, “I’m the gangster you see in movies. I’m a tough guy.”  It was shortly after the divorce that he was caught in another scuffle with police. It was reported in 1946 that La Rue was concussed during a fight at a Hollywood party allegedly involving Lawrence Tierney, Diane Barrymore and a mannequin named Mona who was previously owned by Errol Flynn.

It was a year later that La Rue would make a more interesting decision running for a seat in the Los Angeles City Council. He was quoted as commenting that a win would mean his retirement from pictures; however, he was unsuccessful in his bid. In 1949, he married again, to Austrian Baroness Violet Edith von Roseberg which lasted a brief one month and 19 days. It was later annulled when La Rue testified that von Roseberg only married him in order to become an American citizen. He was married a third and last time to Anne Giordano from August 1962 to February 1967.  
 
His acting career was not exceptional nor was he a traditional star, but his persona, appearance and acting-style were typically ‘Precode’ and La Rue, therefore, had a substantial impact in creating that great era of film history. Jack La Rue died January 11, 1984 from a heart attack and is the father of actor Jack La Rue Jr.       
Jack La Rue on the set of "A Farwell to Arms"

La La La: Precode Music Sheets

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I started collecting music sheets around five years ago, mainly because they were cheap and many of them had beautiful pictures of classic movie stars and backgrounds that I could use to cover my walls and desk. Over the years I have amassed a bit of a collection with several Precodes – although not as many as I would like. I have scanned copies of some of them produced between 1929 and 1936. My favourite is, perhaps obviously, the sheet with featuring Cary Grant, Franchot Tone and Jean Harlow because these artists were not included in many musical films and are immense classic film icons. Enjoy:


'Coney Island' in Cain and Mabel (1936)
 
Featuring Marion Davies and Clark Gable

 
'If I Had a Talking Picture of You' in Sunny Side Up (1929)

Featuring Janet Gaynor and Charles Farrell
 
 
'The World is Mine Tonight' in The Gay Desperado (1936) 
 
Featuring Ida Lupino and Nino Martini

 

'You Were Meant for Me' in Broadway Melody (1929)
 
Featuring Anita Page and Bessie Love


'I Wanna Go Places and Do Things' in Close Harmony (1929)

Featuring Nancy Carrol and Buddy Rogers


'Shuffle Off to Buffalo' in Forty-Second Street (1933)

Featuring Ruby Keeler, Dick Powell, Warner Baxter, George Brent and Bebe Daniels


'You' in The Great Ziegfeld (1936)

Featuring Myrna Loy, William Powell and Luise Rainer


'Top Hat, White Tie and Tails' in Top Hat (1935)

Featuring Ginger Rogers and Fred Astaire


'Did I Remember' in Suzy (1936)

Featuring Jean Harlow, Franchot Tone and Cary Grant



Jeanette MacDonald: MGM Love Triangle – Part 1

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When onscreen love affairs spill over into real-life romances it is always the stuff of legends. The well documented relationships of famous acting duos Humphrey Bogart and Lauren Bacall, Katharine Hepburn and Spencer Tracy and Elizabeth Taylor and Richard Burton have fascinated and warmed the hearts of classic film lovers for decades. But, perhaps the most tragic and romantic film and real-life love story was the subject of a large scale cover-up until author and researcher Sharon Rich stumbled upon it years ago. The couple is the charming musical pair Jeanette MacDonald and Nelson Eddy and between them the determination of Louis B. Mayer and MGM studios and MacDonald’s husband until her early death, Precode regular, Gene Raymond. It features adultery, physical abuse, supposed abortion and illicit love – more than the usual Hollywood scandal.

Nelson Eddy and Jeanette McDonald (from maceddy)

Jeanette MacDonald, born June 18, 1903, was already an established film star when she made her move from Paramount to Metro-Goldwyn-Mayer in 1933. She was an excellent singer and with her extensive Broadway experience was a perfect onscreen leading lady opposite French performer Maurice Chevalier. They appeared in several successful films together including, ‘The Love Parade’ (1929), ‘One Hour With You’ (1932) and ‘Love Me Tonight’ (1932). It was then she moved to MGM making further Broadway style musicals, such as, ‘The Cat and the Fiddle’ (1934) and another Chevalier collaboration in ‘The Merry Widow’ (1934).    

Meanwhile her future on and off screen companion, Nelson Eddy, was having equal success in Hollywood as he was in countless operettas and stage musicals.  Extremely handsome, tall, boyish and blonde, his looks began in career in films while his superb baritone voice cemented him as a musical staple. He first films with MGM – beginning in 1933 – were mostly singing vocals in nightclub or stage production scenes, such as in, ‘Dancing Lady’ (1933), ‘Broadway to Hollywood’ (1933) and ‘Student Tour’ (1934). It was a stroke of genius that on a whim MGM, the following year, cast the favourable, but still fairly unknown, Nelson as leading man opposite the beautiful and popular Jeanette MacDonald in ‘Naughty Marietta’ (1935) a screen version of the 1910 operetta.   

According to Rich’s book ‘Sweetheart’s, MacDonald and Eddy first met before their initial screen pairing at a party held by wife of film director Frank Lloyd in early 1934. Eddy also claims had seen her before this on the set of her previous film ‘The Merry Widow’ (1934) but had not been introduced. Although, during this period McDonald was engaged and rumoured to have married her manager, Bob Richie, the pair began seeing more of each other and becoming, at the least, close friends before the commencement of filming for ‘Naughty Marietta’ (1935). The often unclear relationship between Richie and MacDonald was finished or, if the reports are true, the marriage was annulled before the release of the 1935 film.
Eddy and MacDonald before the making of 'Naughty Marietta' (1935) (from maceddy)
 
Similar to the great fictional and real-life love stories, the beginnings of the romance was intense dislike between MacDonald and Eddy during the early stages of filming. The animosity got to such an extent that both tried to withdraw from the film before too much work was completed. But director W.S. Van Dyke was patient, and the movie was completed to favourable reviews and an Academy Award nomination for Best Picture. The duo was soon cast in another musical, ‘Rose Marie’ (1936), which came in a year that changed both their lives forever.

In mid 1935, between films and during a split period with Eddy, MacDonald met actor Gene Raymond at party when he, reportedly, whistled at her as a means of an introduction. Although, they didn’t hit it off that night, they soon became acquaintances and began dating. Raymond was a handsome, charming, accomplished actor whose credits – beginning with his screen debut in 1931 – included ‘Ex-Lady’ (1933), ‘Zoo in Budapest’ (1933), ‘Flying Down to Rio’ (1933) and ‘Sadie McKee’ (1934).  Both were then single but with growing film careers weren’t looking for a long-term commitment.

At the close of 1935 during the end of filming, then at location in Lake Tahoe, both MacDonald and Eddy seriously considered the future of their relationship. Eddy had on many occasions proposed to his leading lady but with equally successful and competing careers both had considered it disastrous to marry. In this instance, surrounded by a beautiful landscape and more in love than ever, MacDonald accepted his proposal.
Eddy and MacDonald at Lake Tapoe (from maceddy)
Another picture of the pair on location (from maceddy)
 
But, after what MacDonald called “the happiest summer of my life”, the love-birds’ life took another sudden and, what would be, a tragic turn. MacDonald became pregnant. She was a successful, lucrative actress and was about to have a baby, unmarried. A baby if, Louis B. Mayer could help it, she would never have. 
Part 2 is coming soon.....     
 
Most of the information here is attributed to Sharon Rich’s excellent website found here. It has numerous resources, firsthand accounts, pictures and other documents relating to the relationship between Jeanette MacDonald and Nelson Eddy.

Jeanette Macdonald: MGM Love Triangle - Part 2

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To read part 1, click here. If not keep reading for part 2 in the tragic love story between Jeanette Macdonald and Nelson Eddy and the lengths MGM boss, Louis B. Mayer would go to cover up the adulterous affair.   

In the 1930’s, the powerful and egotistical Louis B. Mayer ruled MGM and in some ways Hollywood as a whole. He was involved, either directly or indirectly, in dozens of cover-ups, lavender marriages and abortions all in the name of maintaining the profitability of his empire. Even leading gossip columnists Hedda Hopper and Louella Parsons had to follow a strict policy of not printing some information that would ruin careers of famous or upcoming stars. When the news hit Mayer about Jeanette Macdonald’s pregnancy and planned elopement with Nelson Eddy, there was only one solution. Abortion. He could not have his highly lucrative leading lady give birth, unwed, and if the couple decided marry, a divorce – which Mayer considered very likely to follow – would ruin the onscreen pair’s reputation in the eyes of the movie audiences.

The intense hatred between Mayer and Eddy was both felt by the two men and with equal intensity. Like many of the stars before him, such as, Lillian Gish and William Haines, Eddy’s apparently ignoring Mayer’s wishes and continuing to court Macdonald made him a liability and, if his films were not as profitable, Mayer would have had him blacklisted. Instead he made his life at MGM a living hell; he gave him inexperienced staff, shoddy props and constantly tried to humiliate him on film.

But, something occurred in late 1935 that neither men expected, Macdonald miscarried. Sadly, the tragedy of the situation was extended when on hearing the news that she was no longer pregnant, Mayer automatically assumed she had followed his advice of aborting the child and Eddy, thinking the same, broke off his relationship with Macdonald. Instead of receiving comfort from the two most important men in her life, one abandoned her and the other, having received what he wanted, fervently pushed his star into more pictures.
Jeanette Macdonald and Louis B. Mayer
Macdonald starred in one film, ‘San Francisco’ (1936) with Spencer Tracy and Clark Gable before appearing in another film with Eddy. She was depressed, underweight and distracted when Irving Thalberg offered her a role in ‘Maytime’ (1937) another romantic musical where both leading characters navigate the world of the Paris opera’s while being romantically kept apart by Macdonald’s older music teacher played by John Barrymore. Although the filming began in August 1936, there was a massive struggle to get the film off the ground. Understandably both Macdonald and Eddy were hesitant to do the picture with the animosity between the pair clearly unresolved and palpable.  Cautiously both agreed and filming began.   

Only a week into the shooting another blow was to hit Eddy, when Macdonald announced her engagement to Gene Raymond. To the public who for months had been reading about the blossoming relationship between the two stars were not surprised by the news, but Eddy – who still considered a rekindling of the relationship likely – was dumbfounded and distraught. Like many of the MGM staff and what films historians consider most likely, Eddy blamed Mayer. It would be a clear win-win for the mogul. Most of the film community knew of Raymond’s bisexuality and the marriage would both prevent Eddy from interfering with Macdonald’s career and keep Raymond’s private life from affecting his public life.

As filming continued, slowed briefly by the death of Thalberg and the subsequent almost complete rewrite of the script, Macdonald and Eddy were gradually brought closer together. By the close of the shoots they were in love similar to in ‘Rose Marie’ with staff calling them “the lovebirds” and even constructing a special trailer so the pair could meet in private. Although, again this wouldn’t last with arguments over Macdonald’s career and children causing yet another split.

By mid 1937, Mayer would get his wish. Macdonald and Raymond were married on June 16, 1937 at Wilshire Methodist Church in Los Angeles. Eddy was hired to sing and made himself, Macdonald and some of the knowing audience miserable.

A quote from a letter written by Macdonald to Eddy’s mother Isabel is a sad indicator of her feelings about her wedding. (found in maceddy)
I must go to Gene not with my heart’s love, for that is impossible, but with purity of spirit — and a calm mind — a prayer in my heart. These two men are so strangely alike — I must try to find enough of Nelson in Gene to make me contented.”


Jeanette and Gene on their wedding day
Gene and Jeanette returning from their honeymoon

After the wedding, both actors attempted to become stable and satisfied – Macdonald tried to settle down with Raymond and Eddy tried to find Macdonald’s likeness in another of the countless pretty starlets paraded around Hollywood. But MGM wouldn’t keep them apart for long pairing them in ‘Girl of the Golden West’ (1938) and ‘Sweethearts’ (1938) soon after Macdonald’s marriage.

It was during the making of ‘Girl of the Golden West’ (1938) that the short held secret of the Macdonald/Raymond sham marriage was almost let out of the bag. In January 1938, Raymond was arrested for one of three times for having sex with men. Although it was quickly hushed-up – with evidence that Macdonald paid $1,000 for the arrest to be removed from her husband’s file – it was a mistake that would mean the end of Raymond’s career. According to historians, soon after the arrest Mayer began “blacklisting” Raymond by cutting off his film roles and Macdonald, humiliated, filed for divorce.
This news brought high-spirits to the filming of ‘Sweethearts’ (1938). Macdonald became pregnant again – this time it is clear that Eddy was the father – and, with divorce proceedings imminent, the couple planned to marry and have the child and happiness they had wanted. 
Macdonald and Eddy caught kissing, while Macdonald was married to Raymond, on her birthday, 1938.
But Mayer was not a force to be reckoned with and, despite the desires of both Macdonald and Eddy, history would again repeat itself.

Part 3 is coming soon….
Note: all the information comes from the wonderful website www.maceddy.com with photos coming from there and www.legendaryjeanettemacdonald.com/

Who’s Misbehaving? – The Top 10 Surviving Precode Stars

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There’s not many and they mostly consist of child stars, but below is a list of the top ten still living Precode actors and actresses:


1)     Mary Carlisle

Born: February 3, 1902 (aged 102)
Best known for: WAMPAS Baby Star of 1932, managed an Elizabeth Arden Salon in Beverly Hills

Films: ‘Girl o’ My Dreams’ (1934), ‘Palooka’ (1934) and ‘Saturday Millions’ (1933)



2)Dickie Moore

Born: September 12, 1925 (aged 87)
Best known for: child star, featured in ‘The Gang’ series, gave Shirley Temple her second onscreen kiss

Films: ‘Blonde Venus’ (1932), ‘So Big!’ (1932) and ‘Oliver Twist’ (1933)

 

3)Diana Serra Cary (Baby Peggy)
 
Born: October 26, 1918 (aged 94)
Best known for: popular child star, author and film historian, current campaign to award her a star on the Hollywood Walk of Fame, fought for better rights for child stars

Films: ‘Off His Base’ (1932), ‘Eight Girls in a Boat’ (1934) and ‘The Return of Chandu’ (1934)


4)Mickey Rooney

Born: September 23, 1920 (aged 93)
Best known for: ‘Mickey’s” shorts made in 1927-9, his acting and musical pairing with Judy Garland, playing the character of ‘Andy Hardy’ in several films

Films: ‘Manhattan Melodrama’ (1934), ‘The Beast of the City’ (1932) and ‘Chained’ (1934)


5)Shirley Temple

Born: April 23, 1928 (aged 84)
Best known for: popular child star, dimples and golden curls, musical performances

Films: ‘Baby Take a Bow’ (1934), ‘Stand Up and Cheer!’ (1934) and ‘Bright Eyes’ (1934)


6)Carla Laemmle

Born: October 20, 1909 (aged 104)
Best known for: niece of Universal Pictures founder Carl Laemmle

Films: ‘Dracula’ (1931), ‘The Broadway Melody’ (1929) and ‘The Hollywood Revue of 1929’ (1929)



7)Cora Sue Collins

Born: April 19, 1927 (aged 86)
Best known for: popular Precode silent star, played Tania (Anna’s first child) in ‘Anna Karenina’ (1935)

Films: ‘The Scarlett Letter’ (1934), ‘Torch Singer’ (1933) and ‘Smilin’ Through’ (1932)


8)Marilyn Knowlden

Born: May 12, 1926 (aged 87)
Best known for: popular child star, appeared with such legends as Norma Shearer, Claudette Colbert and Katharine Hepburn

Films: ‘Call Her Savage’ (1932), ‘Imitation of Life’ (1934) and ‘The Cisco Kid’ (1931)


9)Jane Withers

Born: April 12, 1926 (aged 86)
Best known for: child star, was the heroine in two novels published in the 1940’s and special friend of James Dean

Films: ‘Zoo in Budapest’ (1933), ‘Imitation of Life’ (1934) and ‘Bright Eyes’ (1934)


10)Mary Wallace

Born: September 10, 1914 (99)
Best known for: Precode child star

Films: ‘Kiss and Makeup’ (1934), ‘Little Women’ (1934) and ‘Young and Beautiful’ (1934)

Such Things Happen in ‘Love is a Racket’ (1932)

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Director William Wellman constructs a face-paced, entertaining and witty charade about love, journalism, crime and Broadway in ‘Love is a Racket’ (1932). It stars the often overlooked, Douglas Fairbanks Jr. with the always underappreciated cast of the ‘almost legends’ Ann Dvorak, Lee Tracy, Frances Dee and Lyle Talbot.  

 
In the early Warner Bros screwball comedy, Doug plays Jimmy Russell newspaper reporter and author of the column, ‘Up and Down Broadway’. With his boyish energy and cheeky nonchalant attitude to his work he coordinates the journalism game covering entertainment and soft news and attempting to keep his life simple.

He is guided by his friends, the jovial and loyal Stanley (Lee Tracy) and the quick-witted, stable and cynical, Sally (Ann Dvorak). His downfall – like most Precode men – is a woman, the beautiful and engrossing Broadway star wannabe, Mary Wodehouse (Frances Dee). Jimmy chases her under the watchful eyes of “dragon-lady”, “old-terror”, Aunt Hattie (Cecil Cunningham).
 
 
He knows she’s a liar and uncontrollable but he falls in love with her anyway. But like any good Precode farce nothing is easy, this love match is four-cornered with Sally secretly in love with Jimmy and his pal Stanley in love with Sally.
 

Mary isn’t only ambitious, self-centred, manipulative and stunningly beautiful she’s in debt. Her love of clothes, makeup and vanity has left her owing $3,000 to the dangerous, gentlemanly side of organised crime, Eddie Shaw. Enlisted to help her out of her jam, is blinded Jimmy who’s willing to do anything to help his “weakness”. He attempts to talk Shaw out of debt nonetheless he finds there is more than money between his love and the gangster, Shaw wants Mary to himself and pursues her at all cost.

But, the plot spirals when Jimmy finds Eddie murdered. Methodically and calmly he covers up the murder as a suicide, removing all traces of Mary from Eddie’s house and removing suspicion away from the killer, Aunt Hattie. Battered and soaking wet, Jimmy’s actions and conscious is plaguing him as he decides what he wants the thrilling, consuming gaze of Mary or the warm embrace of Sally. Or perhaps he’ll find that, “love is just a mental disorder,” and it’s best not to get infected.

With the brilliant use of sharp and snappy dialogue and fast plot turns and twists, Wellman conveys truths behind love, relationships and its counterpoints ambition and money.    

Doug’s way with dialogue and movement is charming and instantly likable, proving he is more than the son of his famous parents. The other leads – Ann, Lee, Frances and Lyle – also prove you don’t have to be melodramatic to be memorable, each stealing scenes with their mystery, charm, wit and execution.  ‘Love is a Racket’ overcomes the issues that some early sound films have and is not overplayed or showy.
 
 

And above all the wonderful dialogue, excitement and action is the great appreciation for the talent that is Douglas Fairbanks Jr. Not a Precode class, but almost.

A Bit of Aussie Appreciation: George Wallace

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George Wallace is the forgotten comedian of Australian film. He portrayed working class, jovial and laconic characters ready to ‘take the mickey’ out of anyone who let them. As a star of film, stage, radio and vaudeville, for over 40 years he is one of Australia’s biggest stars and greatest legends – not to mention extremely funny!
 
 
He was born George Stevenson Wallace in Aberdeen, New South Wales on the 4thof June 1895. As the legend goes, George was said to have been born in a tent in the middle of winter and only survived freezing to death by the midwife feeding him hot porridge to keep him warm. His ancestry and nature made him born for the entertainment industry, with his father and grand-father both regulars in the local vaudeville scene. As soon as he was able to walk George was performing, he began – aged 3 – on stage with his family act and a year later dancing and singing for sailors docked in Sydney. For the next few years stage roles became scarce and he began working in a number of trades, such as, dairy farming, cane-cutting, horsemanship, blacksmith and even as a boxer. By aged 16, George – bored, employed at a sugar mill in North Queensland – was given his big break as a comic in a traveling show under comedian Harry Salmon.    

From there George worked his way in performing solo and in acts, several as the top billed performer, in dozens of halls and theatres around the country. He was an ingenious slapstick artist portraying a ‘blue collar everyman’ to the delight of working class Australian audiences. His talents didn’t end at comedy he was also an exceptional dancer (as scene in the clip below), singer, musician and painter. In the 1920’s he had become famous and renowned among audiences and other performers being named one of the “Big Three” most popular entertainers – the other two being Jim Gerard and Roy Rene.   
George Wallace showcasing his tap-dancing abilities in "The Dance of the Startled Fowl"


In the early 1930’s (The Australian version of the Precode era), George, encouraged by the new sound technology and the waning popularity of vaudeville theatres, took a leap and entered Australia’s film industry. The once booming sector, which created around 150 films during the early 1900’s to 1928, was in a sharp decline when George made his first full length movie, ‘His Royal Highness’, in 1932. It proved to be a success and his style of comedy attractive to a society still recovering from the loss of World War 1 and fearing the future of a depression-era Australia. He starred in 4 more films: ‘Harmony Row’ (1933), ‘A Ticket in Tatts’ (1934), ‘Let George Do It’ (1938) and ‘Gone to the Dogs’ (1939) and was a supporting role in two others. Although uneducated, George was instrumental in the creation of the plot and story ideas for many of his films and was credited as a writer in four of them.
 
 
On the eve of World War II in 1940, George’s career faltered with all movie productions called to a halt by the presiding government. He continued on with more work on stage and radio even penning the popular nation boasting anthem ‘A Brown Slouch Hat’. After the war he appeared in two more films one in 1944 and 1951 before heading for England for an unsuccessful comedy tour. It seemed Australia’s older brother didn’t understand or appreciate Wallace’s humour, performance style or heavy accent. He continued quite successfully on radio until his death in 1960 from emphysema and bronchitis.

The Many Faces of George Wallace:


Chatterton, Precode and Forgotten Actresses: Interview with Scott O’Brien

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Like many film fans writer and biographer, Scott O’Brien’s, love of classic movies and television began from an early age by watching re-runs of the legends, such as, Myrna Loy and William Powell on television. Years later his passion for the forgotten legacy of Kay Francis, prompted him to research and write a biography on the great screen personality. This stimulated his interest in the other forgotten actresses of classic Hollywood, going on to publish two more in-depth biographies on Ann Harding and Virginia Bruce. His new book, “Ruth Chatterton: Actress, Aviator, Author” released this month discusses another remarkable, modern lady from the Precode era. Her personal legacy reached a multitude of arenas – the stage, film industry, aviation, publishing and politics – with her qualities of extraordinary determination, independence and intellect that shaped her successes both public and personal. Graciously, Scott O’Brien agreed to answer a few questions, detailed below, on his new book, Ruth Chatterton and the women of early 1930’s Hollywood.


Emma Alsop: What made you interested in classic films in general and the actresses of the 1930’s in particular?

Scott O’Brien: In my teens (1960’s) I enjoyed coming home from school and watching classic movies on TV.  Screwball comedies of Myrna Loy and William Powell were particular favorites.  The dialogue was filled with sharp wit, and Loy’s low-key style was still fresh.  I got to meet her in San Francisco while she was on tour in Barefoot in the Park (1965) and she showed genuine interest in me as a person.  She was a mentor, of sorts.  Her work in civil rights, fair housing, and the United Nations (UNESCO) influenced my own world view. 

My interest in Precode Hollywood blossomed in the 80’s with the advent of AMC and TNT.  The gritty/risqué/honest edge of these films really surprised me.  While I enjoyed the more emotional actresses like Norma Shearer and Bette Davis, I was also drawn to the understated style of Kay Francis, Ann Harding and Virginia Bruce.  


Emma: When did you first come across Ruth Chatterton and what is your favourite film of hers?
Scott: A private collector in the Bay Area had a screening of Once A Lady (1931) while I was attending San Francisco State in 1968.  It’s a dreadful film, but Chatterton had a compelling way of making an impossible, fantastic character come to life.  A few years later I saw Dodsworth (1936) and I was hooked.  Her role as Fran Dodsworth—a vain, foolish woman who is desperate to stay young is amazing to watch.  Chatterton makes Fran familiar and understandable.  Anybody’s Woman (1931) is another standout despite a hokey ending.  Chatterton plays a burlesque queen who tries to turn her life around.  She completely disappears into her character with stunning results.  Dorothy Arzner directed this little gem.   


Emma: How did you approach the biography considering Miss Chatterton was not only an accomplished film actress, but stage actress, aviator and author?

Scott: I decided that if I wanted to know what made Chatterton tick, I had to look at what she wrote about.  I cover her career as a best-selling author in Chapter One.  She began writing in the late 40’s—her first book released in 1950.  Once I establish how she looked at life, I take the reader on a journey back in time to discover how she acquired her world view.  At 16, Ruth took to the stage.  She had a mother to support after her parents separated.  Her father was a rather useless man who made a career of declaring bankruptcies and living off his in-laws.  Chatterton’s acting career was her anchor.  Her interest in aviation began in the late 1920’s, capping with her air derbies in 1935-36.     
I was fortunate to have the help of Ruth’s favourite cousin’s daughter, Brenda Holman.  Brenda sent me a package that contained the only memorabilia that Ruth saved from her career: photographs, telegrams, letters, and the first chapter from her last novel (unpublished).  This material was truly a godsend.  I also learned that a woman named Ruth Moesel had written a biography on Chatterton in the 1960’s.  It was never published, but the manuscript is held at the New York Public Library.  I was lucky to find someone who looked over the manuscript and collection of letters that Moesel had accumulated during her research.  While the manuscript offered nothing new, the letters from Ruth’s friends and co-workers were very useful.
 

Emma: She was in her mid-30’s by the time she entered films. Why do you think she made this leap as she was in the midst of a very successful and stable stage career? Was she an instant hit with the studios and studio heads?   

Scott: Actually, Chatterton’s stage career had come to a standstill by 1927.  Her husband Ralph Forbes was an upcoming star at MGM (Beau Geste) and Ruth was in limbo.  She even took time out to cover a murder trial for the Los Angeles press (the notorious Hickman Trial).  She did a couple of screen tests that bombed.  She never let Josef von Sternberg forget that he rejected her for a role in The Docks of New York (1928).  Emil Jannings came to her rescue offering her a lead in Sins of the Fathers (1928—considered a lost film).  Paramount signed her to a contract and within months she became one of their top stars.  Myron Selznick was Ruth’s agent and when he finagled a more lucrative contract for her with Warner Bros. in 1931, she was pleased.  Paramount wasn’t happy.  They put her in a few clunkers before she made her exit.  Ruth’s stay at Warner Bros. wasn’t fulfilling.  Frisco Jenny (1933) was her only big box-office hit for the studio.  She decided to freelance and pursue her interest in aviation. 


Emma: How did Ruth begin writing novels and were her books popular?
Scott: Ruth’s first novel, Homeward Borne, stayed on The New York Times best-seller list for 23 weeks.  Her interest in the assimilation of Jewish refugee orphans into American life was an uncomfortable, unusual topic, but Chatterton had a way of pulling readers into the narrative and absorb her message.  She considered herself a crusader for social injustices.  Her second book, The Betrayers, targeted Senator Joe McCarthy and the House of Un-American Activities investigations.  The more progressive critics and readers loved her books.    


Emma: Why do you think Ruth Chatterton is largely forgotten as a film actress today, unlike others of her era, Jean Harlow, Mae West and Loretta Young?
Scott: Harlow’s tragic death kept her name and legacy alive (deservedly).  Mae West and Loretta Young (Bette Davis, Joan Crawford, Katharine Hepburn) remained active on stage, screen, and TV for decades to assure their status as cinema legends.  Chatterton’s last film was in 1938.  She assumed the public was, in her words, “richly tired” of her.  While she continued on stage and did some TV appearances, she was focused on being a writer.  She was a success at redefining herself and being, as you say, “largely forgotten”.



Emma: Your biographies include not only Miss Chatterton but Kay Francis, Ann Harding and Virginia Bruce, all women who were at their peak in the Precode era. What drew you to the lives and careers of these women? Did you find similarities with them other than the time of their successes?
Scott: I appreciate the understated style of Francis, Harding and Virginia Bruce.  They did not overplay.  Their approach to acting was natural and unaffected.  I always wanted to know more about them and got tired of waiting for someone else to tell their story.  I’ve been fortunate to make contact with family, friends, and co-workers of these talented women.  On a personal level, each actress was focused on entirely different things.  Francis focused on being financially independent and enjoying a rather prolific love-life.  Harding’s background in repertory theatre and ensemble playing didn’t exactly jive with Hollywood stardom.  She could be headstrong.  She had strained relationships with her family and daughter.  Virginia Bruce was a real romantic.  Sadly, her devotion to her last husband brought her much heartache and financial difficulty.  Ruth’s extravagance and generosity left her practically penniless.



Emma: It is difficult for movie-goers to distinguish the stars from their onscreen personalities. I always imagined Ruth to be strong, independent and modern, similar to her characterizations in ‘Female’ and ‘The Crash’. What picture did you paint about Ruth from your research?
Scott: You are spot-on about Ruth.  She was ambitious, independent and had ideas of her own.  She was what they call “ahead of her time.”  She didn’t give a fig what people thought.  She would tell them what to think.  She and I are pretty much on the same page in terms of how we see the world.  However, Ruth saw herself as a crusader.  One thing I like about her novels is that they have no heroes.  She was adept about giving the back story for all the characters involved in her novels.  You may not like them, but you understand them. 

 
 

Emma I also hear you are planning a book on one of Miss Chatterton’s husband’s, George Brent. Is this true?
Scott: While researching Chatterton, I was contacted by Irish filmmaker Brian Reddin.  Reddin is working on a documentary on George Brent (born George Nolan in Ballinasloe, Ireland).  As Brent was Chatterton second husband, Reddin was interested in my research.  Together, we were able to zero in on Brent’s participation in the Irish Revolution in 1921.  I got hooked.  While Brent wasn’t as charismatic as Gable or Cagney, he was a steady, reliable talent who was willing to allow his leading ladies to steal the limelight.  He’s especially good as Tom Ransome in my all-time personal favourite film The Rains Came (1939)


To find more information on author Scott O’Brien and his works - ‘Ruth Chatterton: Actress, Aviator, Author’, ‘Kay Francis - I Can't Wait to be Forgotten’, ‘Virginia Bruce - Under My Skin’ and ‘Ann Harding - Cinema's Gallant Lady’– can be found on his website, linked here
  
 

Too Hard, Too Fast: The True Legacy of Mayo Methot

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Her legacy today – although minimal and only to dedicated film buffs – is as the former “Mrs Bogart”. The one that caused, prolonged and hindered the famous affair between then husband Humphrey Bogart and Lauren Bacall and probably contributed to making it the romantics dream love story that it is today. Mayo Methot was in her own right a talented and powerful stage and screen actress. Although typecast early in her career, she found success and acclaim within the over 30 films she made during her short life. Bacall in her 1978 autobiography ‘By Myself’ described her in no flattering terms as a drunk, erratic, unstable, selfish and “in her paranoia”. However, these were the words of the youthful and besotted other women on her beloved’s wife. Bogart himself defined his former wife in terms both positive and negative, he would at once seem to be both praising and degrading Methot. At one point during their marriage he commented, “I like a jealous wife…I wouldn’t give you two cents for a dame without a temper.” But among these bitter and emotion-filled words was others from the community that supported her through the highs and lows of her career. She was noted as being vulnerable, passionate, full of talent and bouncing with energy for life and the future. Perhaps, like most people in the film community, Methot was a mixed and complicated bag of traits and temperaments – a naïve, innocent child who opened the Pandora’s Box of alcoholism, jealously, exhaustion and rage. Not just the former Mrs Bogart of the Bogie and Bacall love story.        

Methot was born on March 3rd 1904 in Portland, Oregon to a comfortable, middle class existence. Her parents a sea captain and a journalist instilled in their daughter a sense of independence and determination from a young age. Her mother, Beryl, intent on having her daughter succeed at something more than just housekeeping and motherhood was the first person to introduce the young Mayo to acting. She guided her daughter into beginning her early career in small productions around the Portland area. As Methot’s profile grew appearing in more substantial roles as the lead in “The Littlest Rebel” – later captured on screen by Shirley Temple – and even gender-bending, playing a boy in a production dedicated to the Greek poet, Sappho. By eight-years old the pint-sized actress now dubbed by the media “The Portland Rosebud”, was given one of her first big breaks. She was cast as the official mascot for the city of Portland and was given the tremendous honour of presenting roses to President Woodrow Wilson and other government officials at the White House. In an interview young Methot commented, “The president is awfully nice… He has a lovely room with pictures on the walls of other presidents.” She continued quite patriotic towards her birth city that she, “lik[ed] it better than any city or town or state I have seen yet.”
Mayo Methot 1913
 

It would be ten years later that Methot would leave her cherished city with hopes of stardom bound for New York. Although she had a brief job as an extra in Lionel Barrymore silent vehicle, ‘Unseeing Eyes’ (1923), she returned almost instantaneously to her favourite medium, the stage. In the same year as her film debut, the struggling yet experienced and established actor, Methot, was spotted by popular Broadway impresario, George M. Cohan. Struck by her energy, beauty and spirit, he cast her in his play, ‘The Song and Dance Man,’ which Cohan both directed, produced and starred in. The production was a hit with audiences but fell flat with critics who, although found the story overused and tired, reported that Methot was “fresh and effective”. The combination of Cohen and Methot provided even more effective than her first performance, with the duo pairing up in around 10 more productions during the late 1920’s. Methot, never truly considered a traditional beauty by film studios and movie-goers, was labelled a “little blond beauty” with a “sweet voice” and “naïve…dramatic skill” during her blossoming stage career.  Many critics judged her to be not only beautiful but intelligent and an accomplished and emotive actress.    


It was in 1930 that she was brought to Hollywood and taught the delicate art of film acting as well as personal promotion and the mores of gods of the film industry, namely, studio bosses. She signed a contract with Warner Brothers who began their naïve “Portland Rosebud” in ‘Taxi Talks’ (1930) a 14 minute Vitaphone short featuring, alongside Methot, also on his debut, a young Spencer Tracy. He entre into Hollywood also brought another change to Methot’s life. After her short marriage to cameraman Jack La Mond dissolved in 1927, she began a relationship – and later, in 1930, married – co-owner of the legendary Hollywood restaurant Cock n’ Bull and wealthy businessman, Percy Morgan Jr. In this pairing, Methot, became a version of what she had always dreamed, a housewife. But to blacken the romance was the stresses of Methot’s blossoming film career and her burgeoning reliance on alcohol spurred by constantly spending time at her husband’s popular meeting place.     


Her first feature film came a year later in gangster film ‘Corsair’ (1931) taken from a novel by Walton Green starring Chester Morris and Thelma Todd. Directed by Roland West, critics gave its average reviews mostly centring on Morris’s performance in his first starring role and Todd’s outstanding blond beauty. In her next film, Methot was cast in a role attributed to beginning Methot’s “typecasting” which would plague her for the rest of her career. In, ‘Night Club Lady’ (1932) alongside film sophisticate Adolphe Menjou she plays a hardened night club singer whose love of men, liquor and the fast-paced party life, entangle her in the underside of organised crime. Similar to most of her subsequent roles, Methot, is both a reprobate figure and a vulnerable one when she is murdered and Menjou is enlisted to solve the mystery of her death.
 
Methot and Menjou in 'Night Club Lady' (1932)
 
Methot appeared in over ten comparable supporting roles until the dawn of mid 1934 brought strict censorship and controls over language, occupations, subjects and behaviour caused a blow to Methot’s career as well as many others of that period, such as, Mae West and Dorothy Mackaill. Her onscreen sin – drinking, partying and dubious professions – had to be curtailed.


By the mid 1930’s she was not a bone fide star but had appeared together with a number of screen legends, for example, Carole Lombard, the Barrymore brothers, James Cagney and Mary Astor. She appeared in four more “post-code” productions, including the popular ‘Mr Deeds Goes to Town’ (1936), when she was cast in the fateful film, ‘The Marked Women’ (1937). It was to be the first film to feature Methot and Bogart together and was probably the catalyst for their relationship and marriage. Also starring a feisty and dominating Bette Davis, the film revolves around a bar or “clip joint” which is the location for many shady dealings including illegal gambling, blackmail and murder. When Bogart’s character is sent to investigate the death of a young man, he finds the hostesses coerced into covering up a series of crimes perpetrated by their boss, a notorious gangster.

Methot and Bette Davis in 'The Marked Women' (1937) 

It was a year after the release of the film that Methot and Bogart were married. Although it was a surprise, both had similar up-bringings and appeared to want similar futures. They both had a passion for acting, the sea, drinking and desired a stable lifestyle. They settled down to a fairly steady home-life with Methot the “retired housewife” looking after their dogs and Bogart’s boat – a tribute to his wife, named, “Sluggy”. The marriage even proved beneficial to Bogart’s career, with actress Louise Brooks commenting, “except for Leslie Howard, no one contributed so much to Humphrey's success as his third wife, Mayo Methot." She continued, "those passions--envy, hatred, and violence, which were essential to the Bogey character, which had been simmering beneath his failure for so many years--she brought to a boil, blowing the lid off all his inhibitions for ever." Although positive in his professional life these qualities slowly withered away the affection and foundation that began the relationship. Their public image as the “Battling Bogart’s” made the problems between the couple even worse as they were broadcasted and known to everyone in Hollywood. The arguments, the drinking, the constant suspicion and jealously and even the concealed incident when Methot apparently stabbed Bogart in the shoulder plagued the fragile marriage.    


Methot and Bogart - the happier times
As Methot’s career faltered, Bogart’s prospered being cast in leading roles in more and more prestigious properties. It was more than her personal life that made acting roles untenable, Methot’s appearance - although never classically beautiful she was considered pretty and attractive in her younger days – had begun to become ruddy, sunken and aging as she crept towards 30. Some directors even considered her un-photographable at the end of her career. Rock bottom in the marriage occurred during the mid-war years when Bogart and Methot, visiting long-time friend director John Huston in Italy, began another night of conversation and heavy drinking. Methot, nostalgic of her earlier glory days on the stage, performed a song for the pair. Drunk, bitter and depressed the performance was incoherent, unbearable and to her husband utterly embarrassing. Another example of the public nature of the relationship, the incident was reportedly used as inspiration for a scene – featuring actress Claire Trevor in place of Methot – in Huston and Bogart’s film, ‘Key Largo’ (1948).          

By 1945, although neither Bogart nor Methot would have predicted it at the night of her painful private performance, their marriage would be over. Bogart would move on to the beautiful and intelligent Bacall - their legendary Hollywood love story - and Methot would return to her alcohol, solitude and bitter reminiscences. She made only seven films after her marriage to Bogart, mostly small B-class movies in even smaller, unrated roles. On June 9th 1951, alone in a motel in Multnomah, Oregon, Methot died aged only 47 from complications from cancer. She laid undiscovered for several days. On hearing the news Bogart reportedly said, "Too bad. Such a waste. She had real talent, she had just thrown her life away." There was also reports that roses were sent to her grave in Portland every week until the death of Bogart six years later. Methot was neither an entirely a tragic figure nor a Hollywood success story. She lived a fast-paced life, full of success and failure, full of ups and downs and paid for it in the end.   

Hollywood Costume exhibition in Melbourne

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Its times like these I wish I lived in Melbourne. The arts capital of Australia is playing host to an amazing collection of costumes cataloguing decades of film history. The ‘Hollywood Costume’ Exhibition from the Victoria and Albert Museum (V&A) in London and touring worldwide is on its final stretch closing August 18. It features a massive array of iconic pieces, such as De Givenchy’s famous LBD for Audrey Hepburn in ‘Breakfast at Tiffany’s’ (1961) and Vivian Leigh’s green curtain dress in ‘Gone With the Wind’ (1939).


The exhibition, housed in the ‘Australian Centre for Moving Image’ (ACMI), also includes other components of the costume making process including scripts, sketches and costume fitting photographs as well as film clips, montages and interviews to accompany the pieces. In addition to the exhibition, the ACMI is running a number of events focusing on key figures and designers; such as, Australian-born Orry Kelly programs on his creations in ‘Some Like it Hot’ (1959) for Marilyn Monroe and ‘Gypsy’ (1962), and special showings of ‘The Addams Family’ (1991), ‘The Wizard of Oz’ (1939) and ‘102 Dalmatians’ (2000). Some other costumes featured in the exhibition were featured in: Titanic(1997),Ben-Hur (1959), Casino Royale (2006), ‘Superman’ (1978), ‘The Iron Lady’ (2011) and many more. I encourage any film loving Australian to go see it as I probably won’t be able to make the trek from Brisbane to Melbourne before it moves overseas. 

Below is a few pictures from the exhibition mostly from its original home at the V&A:

 

 
 
 
 
 

 
The clip below features the exhibitions curator, Academy Award nominated film costume designer and historian, Professor Deborah Nadoolman Landis, discussing the exhibition and its importance in film history.

 
 
 


 

 


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