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The (Not So) Merry Wives of Reno (1934)

February 15, 2014, 6:53 pm
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A witty play on words from Shakespeare’s iconic play, Merry Wives of Reno (1934), focuses on the muddled lives of three quintessential Precode couples – perfect newlyweds, a cheating much younger wife and an older couple that never seem to see eye-to-eye. The champions of the film are three second banana staples of the early 1930’s – Glenda Farrell, Guy Kibbee and Hugh Herbert - who cause trouble for the youthful loved up couple, Donald Woods and Margaret Lindsay. Their performances only outdone by the hilarious comic relief from Eloise, a playful, animated and always present sheep.
 
Frank (Woods) and Madge (Lindsay) are a sugary married couple celebrating their first anniversary. As gifts they buy each other expensive overcoats and plan a romantic diner. Their neighbours, however, are the unhappy couple Tom (Kibbee) and Lois (Ruth Donnelly) whose decade’s long marriage has been filled with arguments, plate throwing and husbandly infidelity. Bunny (Farrell), a wealthy wife, with her husband out of town is bored and looking for excitement invites Frank over on the pretence of buying a boat from him. He soon finds out she wants more than just a sea vessel and tries desperately to leave the apartment before the energetic Bunny causes him more trouble. Thankfully it comes in the form of Tom who is also having a casual fling with the bored housewife arrives, drunk, looking for a fun time. Frank exits, negligently, leaving his new overcoat behind. Minutes later in another comedic twist, Bunny’s husband, Colonel Fitch (Herbert), returns from his business trip, glowing and satisfied, bringing along his new prized possession, Eloise the sheep. Flustered and still intoxicated, Tom exits, also unfortunately leaving his overcoat beside Frank’s in Bunny’s hall closet. 
Margaret Lindsay and Ruth Donnelly
When the husbands finally return overcoat-less – and one of them drunk – to their wives dual arguments ensue. Both creating invented stories as to the location their jackets and not succeeding to persuade their spouses that they are innocent. Impulsively, Madge and Lois conclude that the only solution is to divorce their lying, cheating and mistreating husbands and head to Reno. On the train ride the wives, in a serendipitous moment, finally meet, discover their connection and resolve to leave their marriages behind and find laugher and good times in Reno. Hot on their tails is their jilted husbands who have also joined forces desperate to win their wives back and restore their domestic homes. Following behind is Bunny and Colonel Fitch also on the train destined for Reno with a hidden Eloise under the passenger’s seats.

They all stay at a traditional Reno hotel filled with parties, alcohol and newly divorced women. All paying customers can have any need met by the accommodating concierge, Al, played by the hilarious Frank McHugh, who spends most of his time organising parties and acting as a kind of gigolo for lonely women. The couples constantly switch from separation to reconciliation as they navigate through misunderstandings, drunken nights and other women. In the end all it takes is a taste of their own medicine to bring the wives back to the comfort of their husband’s arms and a happy conclusion for this light-hearted Warner Bros. comedy. 

The use of supporting character actors brings a different edge to the picture. Although it is witty and poignant when it comes to marriage fidelity and infidelity, the film lacks slightly with casting. Both Farrell, Gibbee and name are perfect accompanying actors but seem not strong enough to carry a picture with name and name also a little weak. It appears to be a truly ensemble cast that could have benefited from the inclusion of someone like Joan Blondell or Warren William. The film shines with Eloise who is surprisingly vibrant and dramatic for a sheep. Frank McHugh is also brilliantly included as the naughty but helpful concierge. Merry Wives of Reno is not a great Precode drama or commentary on social issues but is a fun, light way to spend an hour in both in the 30’s and now.     

                
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Precode Beauty Tips

February 16, 2014, 9:50 pm
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Take the advice from Precode’s biggest stars on how to stay screen ready:


Tip 1 - For Luscious Lips:
“For clearly defined, smooth rouged lips, follow Mary Carlisle’s advice: ‘Outline lips horizontally with edge or point of stick, then fill in vertically with flat side.’”
 
 
Tip 2 - To Even Skin Tone:
 “Almond meal mixed to paste with lemon juice makes a good, safe bleach, says Maureen O’Sullivan. Apply to cleansed skin, let dry, remove with cold water. Leaves the skin soft, clear.”

 
 
Tip 3 – Food and Skin:
“Una Merkel considers cucumbers a definite skin beautifier, not only in creams and lotions, but in the diet. Una looks as if she enjoyed them, too.”
 
Tip 4 – For Soft, Smooth Hands:
“Mary Carlisle remembers to slip on cotton gloves over her well-oiled hands before retiring, a sure way to flower-like skin. Specially treated sleeping gloves come for those with unusually sensitive skin.”

 
Tip 5 – Something Extra:
The beautiful Jean Harlow used a beauty mark to add to her attractiveness. “Beauty-marks are for the fair-skinned only, where the contrast between black and white is striking and exotic.”
 
For anyone wanted to measure their attractiveness. This is a devise used to measure a person’s beauty by looking at an individual’s symmetry. According to Max Factor and its inventors the nose, the forehead and between base of the nose and tip of chin should be the same length. The distance between the eyes should be the same as the length of the eyes. The actress is Sheila Terry.

 

 
 
 
 
 
 
 
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Precode Pix: In the Great Outdoors

February 22, 2014, 1:19 am
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Actresses appeared to be loving all things natural in the Precode era. The use outdoor, slightly bohemian and action shots were quite popular with publicity departments during the early 1930’s. The result was pictures that appeared more artless, visually interesting and less formal then many of the classic portrait shots. Below is a great selection of photos from Precode actresses enjoying all things from the environmental world:   

Dolores del Rio
 

Toby Wing
 

Jean Parker


 Mary Carlisle



Fay Wray

 
Shirley Chambers

 
Joan Blondell



Adrienne Ames


Loretta Young

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Award Season: Top 5 Precode Oscar Moments

March 3, 2014, 5:21 pm
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The annual Academy Awards has always been an occasion for glitz and glamour and to honour members of the film industry who have excelled over the year. Since the event began broadcasting on television, the eager public has been the given the unprecedented opportunity to have live and comprehensive coverage of the ceremony and (more importantly) the red carpet pre-show. This technology has made the yearly scandals, snubs, bad jokes and outfit shocks instant news all in vivid colour. However, the period before television and the radio broadcast – and my personal interest – the early 1930’s also included a number of cringe worthy, unbelievable and ground-breaking moments. These incidents were only recorded thanks to the now seemingly out-dated medium, the newspaper, and organisations, such as, Oscars.org. Amid this awards season I have dug out my top 5 Precode Oscar Moments:

5.It Happened One Awards Night
The 7th Academy Awards held February 27th, 1935, proved a spectacular year for comedies and the famous, influential director, Frank Capra. His little romantic comedy, It Happened One Night, became the first film in the awards history to take a clean sweep of all the major Oscars. These include: Claudette Colbert and Clark Gable who won the top acting gongs, Best Director for Capra, Best Screenplay for writer Robert Riskin and also, the most celebrated category, of Best Picture. It would take more than 40 years for the feat to be repeated by One Flew Over the Cuckoo’s Nest in 1976. It was also an astounding win because in conjunction with the film being the first romantic comedy to receive Best Picture, the film was never destined to be a resounding success. There were many issues with the movie pre-production, mainly with casting with none of the major stars of the period willing or able to take either the male or female leads. After a struggle Capra finally settled on Gable and Colbert both who had a long line of demands before agreeing to participate. However, the films dialogue, themes and the performances of actors struck a chord with both audiences and critics making the film a major triumph.    
Claudette Colbert with her Oscar
 
4. The Importance of Being Frank
Conversely, the 1933 ceremony, a year before, was embarrassing experience for the innovative director, Frank Capra. The filmmaker providing an interesting and hilarious talking point for the guests and media alike days after all the Oscars were awarded. Capra was nominated for Best Director for his work on the film, Lady For a Day, alongside George Cukor for, Little Women, and Frank Lloyd for the historical epic, Cavalcade. Actor and master of ceremonies, Will Rogers, announced the nominees and called, ambiguously, “Come up and get it, Frank!” Assuming he had been awarded the prize and in the confusion, Capra rushed to the stage to collect the statue. After a few moments of bewilderment and clarification, Rogers confirmed it was actually Lloyd who had won instead of Capra. It was an Oscar blunder that thanks to the lack of technology was not instant news and has become a part of the Academy Awards legend. Thankfully, Capra’s embarrassment was overcome when he was rewarded the following year with the Best Director award.

Frank Lloyd and Will Rogers
 












3. Let’s Call it a Tie        
Wallace Beery, Lionel Barrymore, Conrad Nagel and Fredric March
The 5th Academy Awards celebrating the films created between August 1, 1931 and July 31, 1932 created an odd dilemma for the award’s officials. In the Best Actor category, front-runners, Fredric March nominated for Dr. Jekyll and Mr. Hyde and Wallace Beery for The Champ ended the voting with a one-point difference. The Academy rules at the time stated that the score was not a significant enough win and called the contest a tie. On the night both actors were presented separate trophies and, luckily, both appeared contented with the outcome. Although he was officially in the lead, March was happy to share his prize, with his biographer, Charles Tranberg, commenting:    

“March made a very witty acceptance speech.  He and Beery had both recently adopted a child and March said something to the effect that it was ‘a little odd that we were both given awards for the best male performance of the year.’  Very funny and witty--March really did have a good sense of humour.  It brought down the house.  March had no adverse reaction to sharing the award with Beery--after all they both got their own statuette and didn’t have to share custody of one trophy.”
 

2. The Kids
Young stars became a feature of the Academy Awards ceremonies between 1930 and 1934 as this era in films created many opportunities for the tiny talents to exhibit their abilities. Two outstanding examples are Shirley Temple and Jackie Cooper who both caught the public and the academy’s eyes in the early thirties. Temple created history winning the first ever Juvenile Award aged six at the 7th Academy Awards which was created to acknowledge her achievements over her short career. She is still the youngest ever Oscar recipient. Similarly, Jackie Cooper entered the history books in 1931 after being nominated for Best Actor for his performance in Skippy aged only nine. His achievement was only surpassed in 1979 by Justin Henry nominated for his work in Kramer vs. Kramer. However, young Cooper didn’t have the stamina to last the entire ceremony. According to reports, Cooper fell asleep half way through the proceedings unfortunately on the shoulder of Marie Dressler who was nominated for Best Actress. When she won, Dressler had to slowly manoeuvre the sleeping Cooper onto his mother’s lap before accepting the award.   
 
Shirley Temple with her Academy Award
 













1. The Great Bette Snub  
Bette Davis with her Oscar for Dangerous in 1935
One of the most shocking ever Oscar snubs occurred in 1934. Bette Davis who had previously been given flimsy and melodramatic roles had forced the tyrannical Jack Warner to loan her out to RKO to star in the confronting Somerset Maugham story, Of Human Bondage. The role was challenging for Davis who not only had to behave outrageously flirty and cruel but appear physically hideous and die in the end of a degrading undisclosed illness. She was successful and a standout for the year with Life magazine commenting she gave, “the best performance ever recorded on the screen by an American actress.” However, astonishingly, Davis was not initially nominated for the Best Actress award. After pressure from the media, members of the public and other actors, The Academy was forced to reconsider its decision. The critics were insisting a “write-in ballot” be created. Later Academy’s president, Howard Estabrook stated, “The awards committee has decided upon a change in the rules to permit unrestricted selection of any voter, who may write on the ballot his personal choice for the winner.” This ruling allowed Davis to be officially named a nominee two weeks after the first announcement of the nominees were made. Unfortunately but not surprisingly, Davis did not win losing out to Claudette Colbert. Interestingly she wrote in her autobiography that everybody on the night assumed she would be victorious.

“The air was thick with rumours. It seemed inevitable that I would receive the coveted award. The press, the public and the members of the Academy who did the voting were sure I would win! Surer than I!”
She was rewarded a year later receiving the Oscar for her role as a fallen actress in Dangerous in a well-acted performance but Davis always considered this a kind of reparation for the snub the year before. 
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Actress and Spy: Rochelle Hudson

March 13, 2014, 6:07 pm
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Named as one of the hopeful starlets predicted for Hollywood stardom in the 1931 WAMPAS’s roll call, Rochelle Hudson overcame her chorus girl roles and bit parts to become a leading lady with a long and distinguished career. But her legend includes more than acting successes with stints helping one of her husbands, a naval officer, with espionage and intelligence work in Mexico and Latin America on the commencement of America’s involvement in World War II.
She was born Rochelle Elizabeth Hudson in Oklahoma City, Oklahoma on March 6th1916. The daughter of Ollie Lee Hudson who worked as a public servant and an ambitious film loving mother she was pushed into pursuing acting at a young age. As a first step her family moved to Hollywood and she began taking singing and dancing lessons as the famed Ernest Belcher Academy in Hollywood. Her first appearances came aged just 14 as the voice of Honey in a series of short cartoon films which chronicled the adventures of the character Bosko. This role became a staple of her career and she was featured in over 30 of these shorts until 1937. Hudson was surprisingly mature both physically and mentally but problems arose a year later – in 1931 – when she was signed to a contract with RKO Pictures. Intending to star the teenager in future pictures they were forced to add two years to her age in order to align with public opinion and allow her to play adult roles. That same year she was named alongside Joan Blondell, Marian Marsh and Karen Morley as a promising female talent in the 1931 WAMPAS promotion.   

She soon moved up to supporting parts in a number of noteworthy Precode films. These include in Hells Highway (1932), Wild Boys of the Road (1933) and as the mistreated young women in She Done Him Wrong (1932) to whom Mae West remarks, “When a girl goes wrong, men go right after her!”The next few years brought more break out performances first as Claudette Colbert’s daughter in the popular Imitation of Life (1934) then as Cosette in the critically acclaimed drama Les Misérables (1935), as Shirley Temple’s sister in Curly Top (1935) and in W.C Field’s vehicle Poppy (1936).
Hudson in Hawaii during the war (from wanderling.com) 
By the beginning of World War II in Europe, Hudson’s career began to falter. Her roles were less demanding and in smaller B pictures. Already a divorcee to after marrying a man named Charles Brust some years before, she remarried in 1939 to Harold Thompson who was working at Disney Studios as the head of the Storyline Department. This relationship began a new era in Hudson’s life including her work for the government helping to detect future attacks on US soil by the German army. By 1941 Thompson had enlisted as a naval officer stationed in Hawaii working mainly for the Naval Intelligence Office. Hudson joined her husband on many of his postings and being fluent in both Spanish and French, she proved an asset on his missions. When the couple was moved to a post in Mexico they posed as civilians innocently vacationing around the country to detect any suspicious German or Japanese activity. They were successful in a trip to Baja California in which the couple discovered a supply of aviation fuel hidden by German agents and could have been used to fuel planes for air attacks. From their information the stocks were removed preventing further missions to bomb US cities. 
Sadly, the union between Hudson and Thompson barely outlasted the war and the couple divorced in 1947. A year later she remarried again to Los Angeles Times sportswriter, Dick Irving Hyland. They would only remain together for two years when Hudson remarried for the last time to hotel executive, Robert Mindall, which lasted until 1971. Aged in her 30’s and still itching for more acting roles, Hudson made the move to television featuring in episodes of The Racket Squad (1951), I’m the Law (1953) and co-starring in comedy series That’s My Boy (1954-55) alongside Gil Stratton and Eddie Mayehoff. Another memorable appearance would come the same year in 1955 with the 39 year old Hudson playing Natalie Wood’s mother in the cult classic Rebel Without a Cause.
Hudson in Rebel Without a Cause
After this role she decided to abandon the film industry first to run a 10,000 acre ranch in Arizona and later she moved back to her native Oklahoma to work for a Tulsa petroleum refinery. She returned to the film industry only for select film and television parts, retiring completely in 1967. She then made another career move beginning a successful real estate business in Palm Desert. In 1972, Hudson was discovered dead by a business associate in her home at the Palm Desert Country Club. Aged only 55, she died of a heart attack caused by a liver ailment. Hudson managed to fit a large amount into her short life from travel, marriages, acting, singing, dancing, business ventures and not to mention a bit of spy work. She was another remarkable element of the Precode era and, more correctly, the entirety of Hollywood’s Golden Age.  
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Precode Double-take: Dancer and Gangster, George Raft

March 21, 2014, 1:11 am
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Remaining a star in the golden studio era was all about adaption. Actors and actresses would need to morph their characters and appearances along with societies changing expectations, mood and values as well as keep the essence that made them famous to begin with. Cary Grant moved from madcap screwball roles to sophisticated romantic comedies and Bette Davis and Norma Shearer developed from hardworking, ingénues to strong-willed, determined women as they aged and the public’s preferences changed. Hollywood’s matriarch, Joan Crawford, went further dramatically altering her appearance as her parts transformed in the war years and beyond by adding dark, bushy eyebrows and imposing shoulder-pads to create a lasting and unforgettable legacy.

Unfortunately, talented actor and performer, George Raft, was no exception to the rule. Intent in keeping the global appeal he enjoyed in the 1930’s and early 1940’s he refused to take unsympathetic roles, work with inexperienced directors or feature in unworthy B-pictures. As a result, he reportedly turned down a number of films that became classic and legendary movies, such as, Casablanca, The Maltese Falcon and High Sierra. He was an overwhelming success in his characteristic roles as the gangsta, tough-guy or confidence-trickster of the 1930’s but his appeal failed as he refused to shift into the diverse war years roles. Regrettably, Raft is not as well-known and celebrated today as his talent should have afforded him. Stone Wallace’s biography, The Man Who Would Be Bogart, brought Raft’s legacy to the forefront of many people’s minds but his acting talent, sexual appeal and surprising dancing ability remain, generally, a forgotten mark on Hollywood’s history. 
Below is George Raft in a number of his stereotypical roles and shots in the Precode and Post-code eras.
Raft as a Bartender

Left Post-code: Raft as the possessive bar owner in Around the World in 80 Days (1956)
Right Precode: Raft as another bar owner in Night After Night (1932) alongside the Mae West in    her first role
Raft Dancing


Left Post-code: Raft as the seductive but doomed dancer in Bolero (1934)

Right Precode: Dancing alongside Pat O’Brien in Broadway (1942)
Raft the Gangster

Left Post-code: Raft in the iconic comedy film starring Marilyn Monroe Some Like it Hot (1959)
Right Precode: In his equally iconic role as a gangster in Scarface (1932)
 
Raft: Down and Out

Left Post-code: Raft alongside Humphrey Bogart in They Drive By Night (1940)
Right Precode: Raft as a shifty tramp and confidence trickster in If I Had a Million (1932)
The Women
 
Left Post-code: With the beautiful Dolores Costello and Ida Lupino in Yours for the Asking (1936)
Right Precode: Raft as another heartless gangster with Anna May Wong and Jean Parker in Limehouse Blues (1934)
 
On the Right Side of the Law

Left Post-code: With Clive Brook, Raft plays an undercover agent in The Midnight Club (1933)
Right Precode: Raft with Peter Lorre as a machinery salesman in spy thriller in Background to Danger (1943)
The Torso
 

Left Post-code: With Humphrey Bogart in Invisible Stripes (1940)
Right Precode: Raft having a relaxing bath in Scarface (1932)
 
 
And maybe a little bit more:

 
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Sunday Fashion Fix: Nautical

March 22, 2014, 8:39 pm
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Sailor style seems to be a fashion trend that never goes out of popularity. The use of the colours: blue, white and red as well as strategically placed stripes and interesting cuts are both alluring and attracting on all body types. Celebrities from the early 1930’s to now have been utilising the intricate nautical influence for casual events and on screen. Fashion designers have also taken this trend over the decades as inspiration for high fashion pant suits and dresses, eye-catching hats and various accessories as well as basic striped shirts and 1950’s-style dresses. Nautical pieces can be incorporated easily and suit everybody; take a look at images of the Precode outfits, modern-day celebrity looks and designer pieces. 

Precode Looks:

Clara Bow stands out in her starring role in True to the Navy alongside Fredric March, Harry Green and, her future husband, Rex Bell.



Cute little Shirley Temple plays a sailor.

 Jean Harlow often appeared in nautical inspirited outfits in fashion and publicity shoots.

 
Joan Blondell (top) and Ruby Keeler (bottom) both appear in nautical inspired looks
in the film Footlight Parade (1933).
 

 
A model from 1935 exhibiting a high fashion look.  
 
Modern Celebrity Looks:
Taylor Swift and Leighton Meester in blue, white and red sailor outfits.
Designer Looks:
Sailor-inspired jewellery and accessories:
from Ali Express

from Baby Loves Pink
from Social Vixen
High fashion pieces also include a few sailor-inspired touches:
from Harpers Bazaar

from Vogue
 Nautical pieces can also be part of a casual, everyday outfit:

from Wedding Thingz

from Mom Fabulous
  
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Patricia Lake: Her Paternity, Hearst and the Real Story - Part 1

March 26, 2014, 11:56 pm
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The truth behind the real paternity of Patricia Van Cleeve Lake has been one of the great mysteries of Hollywood and a puzzle that – through the ambiguities and vagueness of lapses in time - will never be fully solved. At its centre is the even more secretive newspaper magnate, William Randolf Hearst, his opulent mansion - San Simeon, and his openly acknowledged mistress, Marion Davies. Allegedly, Lake communicated to her son Arthur Lake Jr on her deathbed, that she was in fact the only biological child of the illicit long term affair between Hearst and Davies. Many biographers and Hollywood figures have touted the claims as false citing difficulties proving Lake’s actual birth date and the influence of the facts on gossip and time. Officially, the daughter of George Van Cleeve and his wife Rose, the sister of Marion Davies, the actuality of Lake’s parenthood has never fully been uncovered.   

Patricia Van Cleeve Lake was born sometime between 1919 and 1923 just outside Paris, France. Publicly and privately, Lake, was never fully aware of her actual birthdate; although, many historians estimate the earlier years 1919 or 1920 to be the closest approximation. According to the public, Lake was the legitimate daughter of George and Rose Van Cleeve – the latter a sister of Marion Davies. In 1924 during a dispute between her parents, Lake was allegedly kidnapped by George Van Cleeve who was on the run with his daughter for five years. They were finally discovered after Hearst’s detectives located the pair and brought the child back to her mother, Rose. A bitter custody battle insured between the couple with George Van Cleeve gaining custody after proving Rose Van Cleeve was an alcoholic.
 
Marion Davies
As she grew into a young adult, Lake showed a blossoming acting talent and looked to have potential to follow in her aunt’s and mother’s shoes and become a starlet. She attended the Lawlor Professional School in Hollywood and a few other schools in New York and Boston which was reportedly all paid for by Hearst. During her adolescents she was a regular feature at Heart’s San Simeon estate even traveling with Hearst and Davies on several trips to Europe. Through her famous relatives Lake became part of Hollywood’s A-list attending parties with Clark Gable, Jean Harlow and Charlie Chaplin. Aged around 17, Lake met Errol Flynn at a beach party and they began a relationship together that lasted for many years. Lake said in the months before she died, “God, I wish Errol Flynn was still alive. He was a barrel of laughs, and pretty good in the hay, too."

In 1937,Lake married actor Arthur Lake – most notable for his performance in the Blondie television, radio and movie series – who she had met at Marion Davies’ beach house. It was later reported that the scandalous affair between Lake and Flynn persisted during the engagement and early into the marriage. Apparently, Hearst lectured Lake on her illicit affair stating that, "You have got to stop this. You are a married woman."She, according to reports replied, “What about you?" referencing his affair with Davies. Nevertheless, the couple remained married until his death in January 1987 and had two children, Arthur Lake Jr and Marion Rose Lake. A few years after their wedding, Lake’s acting career began to take off.
Patricia Van Cleve and Arthur Lake's wedding 
She was named as one of the MPPA ‘Baby Stars’ of 1940, a replacement of the earlier program WAMPAS Baby Stars. She completed mostly stage work from the 1930’s to the mid-1940’s and later took over from Penny Singleton as the voice of Blondie Bumstead in the radio series Blondie, opposite her husband. Lake also worked alongside her husband in a television comedy, Meet the Family released in 1954.

In 1961, the death of Marion Davies caused Lake a great amount of pain. She had lived with Davies – and occasionally her lover Hearst – for much of her life and grieved her death. In her will Davies bequest her “niece” a large inheritance of half of her 20 million dollar fortune. It would be sign of what was to come in the public life of Patricia Van Cleeve Lake with the connection between her and Davies revealed over 30-years later. Lake died October 3, 1993. On her death bead, according to her son, Arthur Lake Jr., she spilled her long kept secret: that she was in fact the illegitimate daughter of Marion Davies and William Randolf Heart and the fact was concealed to save both parties reputation. 
Hearst and Davies
Coming soon Part 2!! In which I discuss all the theories of Patricia Van Cleve Lake’s paternity, all the Hollywood gossip and the truth.

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Patricia Van Cleeve Lake: Her Paternity, Hearst and the Real Story - Part 2

March 31, 2014, 7:47 pm
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If it is true, the real paternity of Patricia Van Cleeve Lake is one of the best kept secrets in Hollywood. It was a mystery covered-up by the richest, shrewdest businessman and media mogul, William Randolf Heart, and his girlfriend, Marion Davies. The true facts of the case have been heavily disputed over the years with Lake’s birthdate and even her deathbed confession questioned by historians. Overall, the sad reality is that history and film lovers will never fully know the entire truth of the story or the place gossip and rumour played in shaping it. 
Horace Brown and his wife Marion Davies and the Lakes
The truth was apparently revealed in October 1993 when Lake on her deathbed divulged to her son, Arthur Lake Jr., the facts surrounding her parentage. She exposed the story that Davies had first told her that she and Hearst were her biological parents when she was 11. This was followed by Hearst who acknowledged her as his daughter before her marriage to Lake. After her death, Lake Jr. attempted to have his mother’s birth certificate changed to reflect her actual parentage. She was instantly brandished a fraud and a liar. "One man called the mortuary and raised holy hell," Arthur Lake Jr. said. He continued, “She lived her life on a satin pillow. They took away her name, but they gave her everything else.”

Although, Lake and her son appeared to sincerely believe the story of Hearst’s and Davies’ cover-up there is little concrete evidence of the scandal other than Lake’s facial similarities with Hearst. Many people argue it was the death of George and Rose Van Cleeve’s first child during infancy that prompted Davies to give up her child to her sister. This theory seems disproven by the behaviour by Lake’s official parents during the kidnapping and fiery custody battle. The extreme actions of both the Van Cleeve’s to keep access to Lake demonstrates to many historians that she must have been their biological daughter. However, this is not completely irrefutable because many parents of adoptive children would probably behaviour in a similar manner.

Hearst and Davies
The issue of dates is also a problem for the diverse sides of the argument. Clearly, due to the fact Lake married her husband in 1937, she must have been born at least before 1920. This is because if she was born in 1923 as some people claim she would have been aged 13 at the time of her wedding. If indeed the date of her marriage is correct, Lake’s birth can be assumed as being somewhere around 1918 and 1920. During this period, Davies film career was booming and she was in the middle of several film and publicity commitments. According to several authors on Nitrateville, she had just completed a film, Getting Mary Married in March of 1919 and it was released that she was to begin filming The Dark Star in April. Interestingly she was reported to have suffered a bout of influenza between these films; however she was not absent from filming for enough time to carry and give birth to a child. Davies appeared in four films in 1919, two in 1918 and another two in 1920. Unless the year of Lake’s birth is outside this period and her age was greatly altered by Hearst, Davies and the media, she could not be the daughter of Davies.   

It is a near impossible task to logically discern the mystery surrounding Patricia Lake’s birth and paternity. If she was indeed the child of Hearst and Davies the cover-up undertaken by both was thorough and mostly successful. Although it is unclear if Lake was the daughter of the millionaire and his starlet mistress, it is evident that Lake had an extremely close relationship to the pair. This is shown through her long trips to San Simeon, her marriage to Arthur Lake – a personal friend and faviourite of Hearst, her inheriting half of Davies’ estate and her place of rest located in the same crypt as Davies. DNA testing is the only method of proving the truth of the Lake’s claims and, with all parties long dead, this will never be undertaken. The ‘myth’ of Hearst and Davies illegitimate daughter with forever be one of Hollywood’s unsolved mysteries, similar to the death of Marilyn Monroe or Natalie Wood.   

An image of San Simeon
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Janet Cantor Gari and The Buried Cantor Tales

May 4, 2014, 6:30 pm
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“It takes over 20 years to make an overnight success.”
The quote is one of the more illustrious comments from talented Hollywood singer, comedian and general performer, Eddie Cantor, and is indicative of his hardworking dedication to the entertainment industry. Over his over fifty year career, Cantor starred in a handful of films, television and radio programs, featured in stage productions, composed and performed countless popular songs and wrote over eight books. He had vitality, motivation and determination to achieve everything he wanted and was one of few in Hollywood that really had the ability to ‘do it all’. Although he was a diligent performer, Cantor’s innate sense of humour and comedic timing was his crowning feature and one that his daughter, Janet Cantor Gari, has definitely inherited. In her latest book The Buried Cantor Tales she recounts a number of experiences and memorable people she met during her time in Hollywood.
By the time of her birth in 1927, her father was already a stage star appearing as part of the popular Ziegfeld Follies shows and had made his film debut in several silent and short films. Although Cantor turned down the lead role in legendary film The Jazz Singer (1927), it didn’t slow down his film career. The early 1930’s brought a number of successful movies, including the Technicolour production Whoopee (1930), Palmy Days (1931), The Kid from Spain (1932) and Roman Scandals (1933); most highlighting his musical as well as comedic skills. He made a number of films until his focus shifted more to radio and later television in the 1950’s with his appearances in war aid pictures, Thank Your Lucky Stars (1943) and Hollywood Canteen (1944) showing his charitable side. As a young adult, Cantor Gari, mingled with several talented and popular Hollywood stars but, as she was too young, didn’t notice their stardom.         
“It never occurred to me as a child that my father's pals and acquaintances were any different from anyone else's circle of friends,” said Cantor Gari.
“There were those I liked and those I didn't.  We never met any of the glamorous stars of the day. My folks "hung out" mostly with their old friends from New York.  As much as I detested Groucho Marx I adored Jimmy Durante (as did everyone--the kindest, sweetest man in the world).”
Eddie Cantor in Roman Scandals (1933)
On Groucho Marx, she continued:
“He was basically a very cruel man with a devastatingly sharp sense of humor.  I think he destroyed his daughter's (my best friend) life, as he did that of her mother and two other wives.  He enjoyed making vulnerable people squirm, although he never tried it with his peers.  Like most people, I loved him in the movies; he was a brilliant comic, but in life the difference between him and his brother Harpo was amazing.  Harpo was a sweet and lovable man who married just once and was a great father to his four adopted children.”
Cantor’s increased popularity on television and radio gave him a wider license with the content of the skits and jokes. He was now given the ability to show his greatest gifts – as a writer and a comedian. Of course, to Cantor, not even his family was off limits in his comedy routines with his anecdotes on the troubles of marrying five daughters a crowd favourite.
“Although we had a very stable home life, the constant barrage of jokes about my father's marrying off his large female brood had a negative and very harmful effect on all of us,” said Cantor Gari. 
“He didn't seriously want to marry off his daughters.  It had simply become part of his "routine," which the public loved--the beleaguered father struggling to provide for so many dependent girls.  It was his well-known gimmick…We knew they were gags, but the public didn't, and our self-esteem eventually slipped off the slippery slope.”
Eddie and Ida Cantor with their daughters
 
Although Cantor was a capable father, it is clear that Cantor Gari deeply loved and respected her mother through the writing of her second book, Don't Wear Silver in the Winter: Remembering my Mother. When asked if she admired her mother, Ida Cantor, she commented:
“No question about it: what I admired most about my mother was her energy.  Never once when I was growing up did I see her "lie down with a bad headache."  She was always up and dressed and ready to go.”
As part of the Cantor family, it was almost inevitable that there would be some pressure for his daughters to likewise enter the entertainment industry. Though having achieved some success, Cantor Gari followed a different path from her famous father.
“When I was nineteen, I was invited by an up and coming director to play the comedy lead in a summer stock production.  I got rave reviews, including one from the most important Boston critic, but when I got back to New York, I found I was just too scared to audition for any new shows, so I got married instead!”
She continues:
“As an adult I began to use my classical music background (the only one in the family) to study and write for piano and small chamber groups, but when I wrote the music for my first show, I was hooked, eventually writing my own lyrics as well.  For me this beats performing.  No need for steady nerves or learning lines.  Just sitting back and having the thrill of hearing the laughs or tears as reactions to something I've created.”
Janet Cantor Gari
Cantor Gari has certainly used the talents and experienced gain from her famous father and dedicated mother. Her endeavours in the musical and writing arenas has both created a new generation of Cantor-lovers and has spurred her children to continue the legacy of their grandfather by becoming accomplished singers and musicians. Her new venture is the more quirky world of fiction writing:
“This is very new for me, and I find it is true that the characters take on a life of their own and sort of lead the way.”
She has published three books before the current one, namely, Themes From My Fatherregaling her remembrances about her father, Don't Wear Silver in the Winter, and Stop the World! I Want To Tell Someone Off! A Collection of Candid, Comical Contemplations which she calls her “way to vent” seen through her “comically distorted glasses”. Her present book, The Cantor Buried Tales, is an interesting and light-hearted look at some of Hollywood’s fascinating characters written more like a novel then typical nonfiction.  These can be purchased from Bear Manor Media or other online book stores, such as, Amazon. Janet Cantor Gari has a personal website with information on her and her works that can be found here.          
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Norma Shearer and 'That' Dress

May 13, 2014, 12:30 am
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Norma Shearer’s clothes became a sensation in the Precode era similar to the outrage and trends created from Gloria Swanson’s almost obsessive love for fashion. Nothing coursed more of a stir than her famous nearly see-through silken dresses in A Free Soul. Everyone in Hollywood seemed to have an opinion. Check out these quotes on films the original that dress.  


“Damn, the dame doesn’t wear any underwear in her scenes. Is she doing that in the interests of realism or what?”

Clark Gable

“Her clothes are breathtaking in their daring. But you couldn’t get away with them in your drawing room.”
Photoplay

“It was a form-fitting dress of white satin without a stitch on underneath…It out-Harlowed anything Jean ever put on her back.”
Hedda Hopper

Norma Shearer’s Reply:

“Somehow or other I always got myself rigged up in something sensational.”

 

“It is impossible to get anything made or accomplished without stepping on some toes; enemies are inevitable when one is a doer.”

 

“The morals of yesterday are no more. They are as dead as the day they were lived. Economic independence has put woman on exactly the same footing as man.”

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Dorothy Mackaill Dishes the Dirt

May 17, 2014, 11:54 pm
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Mostly forgotten Precode actress, Dorothy Mackaill, was an excellent source of witty quotes and ponderings on the wonders and eccentricities of her generation during the early 1930’s. If you flip through old movie magazines – mostly ones published in 1930 and 1931 – you will surly find at least one insightful remark from Mackaill. Despite her young age and lack of schooling, she was surprising succinct, perceptive and clever. Below is a few of her best bits:


“The modern girl is like the Lindbergh, built for speed. We have tremendous vitality of body and complete emancipation of mind. None of the old taboos…mean a damn to us. We don’t care.”

“Give the modern girl a job and she’ll all set and all right. Give her nothing to do but smoke cigarettes, loll about the house, play bridge, and think about sex – and no one would dare answer for the results.”  

“In order to be sophisticated, fledgings turn to their primer, the movies. Who has the good times, the swell clothes, the boyfriends, the jewels, the excitements, all the breaks? Why who but the Connie Bennets…the Crawfords, even the Mackaills. And why?...Not because we are portrayed as “nice girls” sitting at home with the old folks or practising the piano. No, because…we are smoking, drinking, dancing, being made love to, getting into and usually out of…passionate situations.”


                              “…to be called a nice girl is to be blasphemed and socially undone.”
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Gif Me a Whisky: Precode Named Cocktails

May 26, 2014, 6:22 pm
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Anyone who is even slightly familiar with Precode films can definitely attest that they are filled with alcohol. In nearly every picture, most the characters are either drunk, talking about getting drunk or experiences hangovers for some portion of the film. Words like ‘bootlegger’, ‘plastered’, ‘blotto’, ‘soused’, ‘sauced’ and ‘speakeasy’ are common Precode terms in an era – unbelievably – ruled by Prohibition. Who could forget Greta Garbo’s first piece of dialogue spoken on screen in Anna Christie (1930), “Gif me a visky, ginger ale on the side, and don' be stingy, baby”. A line which is unequivocally speaking to the culture of 1930’s society which – if the films are anything to go by – was overrun with liquor. Take a look at some more lines from popular Precodes: 

“Most of the girls around here like to compete to see who can get blotto first!” Three Wise Girls (1932)
“You just sell some creamy beers to the working man. With some murders on the side to keep him entertained!” Doorway to Hell (1930)
“God gives us heartache, and the devil gives us whiskey.” Five Star Final (1931)
“I could do some thinking on gin, if I had some.” Bed of Roses (1933)
Also poking fun at alcohol and drunkenness. So since the great majority of Precode films are focused on the topic, it’s not surprising that this obsession has transferred into the 21st Century. Nowadays even long dead stars are getting into the action with a handful of popular Precode actors and actresses having cocktails and concoctions named after them. I recommend trying a couple if you have a spare weekend or a lazy afternoon.    

 
Marlene Dietrich Cocktail

Ingredients
3/4 wineglass of Rye or Canadian whisky
2 dashes Angostura Bitters
2 dashes Curaçao
Method
Shake well and strain into a wineglass. Squeeze orange and lemon peel on top.

 



Jimmy 'Schnozzle' Durante Cocktail
Ingredients
1 teaspoon Curaçao
2 glasses gin
2 glasses sherry
2 glasses French Vermouth
Method
Mix the ingredients in a shaker filled with cracked ice. Stir thoroughly with a spoon, shake, strain and serve. Add an olive and two dashes of Absinthe to each glass.

 



Douglas Fairbanks Cocktail
Ingredients
2/3 Plymouth gin
1/3 French Vermouth
    Method
Shake and strain into a chilled cocktail glass. Garnish with orange and lemon peel.




  
Garbo Gargle
Ingredients
1 dash Crème de Menthe
1/4 glass orange juice
1/4 glass Grenadine
1/4 glass French Vermouth
1/4 brandy

Method
Shake well and strain into a medium sized glass. Top with a splash of Port Wine.
 
 
 
 
Jean Harlow Cocktail
Ingredients
1/2 Bacardi Rum
1/2 Italian Vermouth
A peel or wedge of lemon
Method
Shake and strain into a cocktail glass
 

 
 




Mary Pickford Cocktail
Ingredients
1/2 Bacardi Rum
1/2 pineapple juice
1 teaspoon grenadine
6 drops Maraschino 
Method
Shake well and strain into a cocktail glass.
 


 





 
Ginger Rogers Cocktail
Ingredients
1/3 French Vermouth
1/3 dry gin
1/3 apricot brandy
4 dashes lemon juice
Method
Shake well and strain into a cocktail glass.

 

Will Rogers Cocktail
Ingredients
1/4 orange juice
1/4 French Vermouth
1/2 Plymouth gin
4 dashes Curaçao
Method
Shake well and strain into a cocktail glass.
 

Shirley Temple Cocktail
Ingredients
Ginger ale
Dash of grenadine

Method
Mix and serve.

 

 





Lupe Velez Cocktail

Ingredients
3 glasses Jamaica rum
1 glass Kummel
1 glass orange juice
1 dash Pimento Dram

Method
Shake carefully and serve whilst frothing.
 
 
Johnny Weissmuller Cocktail
Ingredients
1/3 gin1/3 Bacardi Rum
1/3 lemon juice
Powdered sugar
1 dash grenadine
Method
Shake well and strain into a cocktail glass.
 

Mae West Cocktail
Ingredients
Yolk of 1 egg1 teaspoon powdered sugar
1 glass brandy
Method
Shake well and strain into a medium sized glass. Top with a dash of Cayenne Pepper.
 
 
 
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This Week in Precode History: 2nd - 7th June

June 1, 2014, 11:16 pm
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Hopefully a regular addition to my website, ‘This Week in Precode History’ will include all the exciting goings-on and new that occurred this week in the years 1929 to 1934. All the information is gathered from contemporary film and Hollywood weeklies, mostly from publication The Hollywood Reporter. These newspapers were all accessed from the wonderful Media History Project website.   

A scene from the shooting of A Free Soul
·         Two famous Precode films premiered this week with A Free Soul in 1931 and Gold Diggers of 1933 later proving both financial and critical successes. A Free Soul continued the rise of Norma Shearer whose career had captured public interest since her appearance in the controversial film The Divorcee the year before as well as her subsequent Oscar win. The Hollywood Reporter said of the film,

o   “It’s got a title designed to drag ‘em in and probably will. Shearer, dressed and undressed, acting and posturing. A yarn, that often stretches logic thin, but a combination of ingredients that, in toto, undeniably is swell box-office.”  

·         While Shearer’s picture debuted at the Astor in New York, Gold Diggers of 1933 premiered at the renowned Grauman’s Chinese Theatre with tickets costing $5. Starring a bevy of stars including Joan Blondell, Warren William, Ruby Keeler, Aline MacMahon and Dick Powell it was also another crowd favourite.
An advertisement for the world premiere of Gold Diggers of 1933
·         This week in 1934, announced the death of prominent silent actor, Lew Cody. He death aged only 47 was attributed to a heart attack but it was reported that Cody had had a breakdown four years earlier. Reports comment that the actor was found at 3pm, “had been dead several hours, but his house staff thought he was still sleeping”. Cody until his death had appeared in at least 99 films and, other than his film credits, was also notable the last husband of acclaimed comedian Mabel Normand.

·         The filming of Greta Garbo’s triumph Queen Christina was reportedly held up from starting shooting. Although, the project and leading lady had been set for some time, the casting of Garbo’s male lead was left open. Apparently, all male stars were tested but known at that time had filled the expectations. The role would later be performed by Garbo’s ex-lover John Gilbert.

·         Paramount announced plans for the beginning of a new campaign – to find a young actress with the skill, charm and looks to bring the role of Alice in Alice in Wonderland to the big screen. The search – it was reported – was even extended to overseas countries.
A scene from Alice in Wonderland
·         Similarly, Warner Bros. also announced exciting plans, with Joan Blondell pronounced as the female star in a new musical production called Footlight Parade. Both James Cagney, Allen Jenkins and Arthur Hohl had already been named to feature in the new film.
 
·         Both Dr Monica and Dames were also new releases in 1934:


 
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This Week in Precode History: 8th - 14th June

June 7, 2014, 5:52 pm
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Check out this week’s goings-on in the history of Precode:
  • Clark Gable’s mysterious illness is reported to perhaps keep him off the screen for as much as three to four months. The condition was said to be, “a toxic condition that has settle on his legs, and physicians now advise that he go to Hot Springs, in Arkansas, or Virginia, for the baths and a long course of treatment.” The newspaper also reporter that Gable was, therefore, unable to appear in this next contracted film Dancing Lady with Joan Crawford. I am not sure what he must have been suffering but he was indeed well enough to perform (even in shorts) in the film.
  • There must have been an epidemic in Hollywood during this week because it was reported that the legendary Cary Grant was also suffering a mysterious illness. He apparently withdrew from role in Big Executive which was released in October 1933 with Ricardo Cortez as the lead. His illness also held up retakes on Gambling Ship and delayed the start of shooting on Ladies Should Listen, released mid-1934. Paramount later said Grant had been suffering a “heavy cold”.
  • After the release of Gold Diggers of 1933 in 1933 last week, the reviews and box office figures are released with the film being a huge success. The film apparently drew full houses at the Strand on it second day and was popular with both the public and critics. A couple of newspaper reviews highlighted its popularity:
“Another shiny, expensive musical show which portrays considerable ingenuity in its musical sequences.” Sun.
“The film as a whole is gay, spontaneous and altogether amusing.” Herald-Tribune.
“Four stars. It is lively, it is funny, it is stirring and in its unreeling the picture continues to gain in interest, speed and beauty until the very end.” News.
“Packed with lavish sets, decorative chorus girls, tuneful song numbers and trick dance formations all of which spell good summer entertainment.” Journal.
  • Douglas Fairbanks Jr. was announced as the second male lead in an upcoming film Design for Living alongside Fredric March and Miriam Hopkins. The contract was apparently drawn up by M. C. Levee with Doug to sign in two weeks upon his return from Europe. I don’t know what eventually occurred, but Gary Cooper was rushed into the part instead of Doug.
  • Sam Jaffe long term production executive and assistant has resigned his position at Columbia. He announced no further employment plans and decided to take a long vacation in Europe.  


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Name That Star Answer and 'That' Hair

September 18, 2013, 12:44 am
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And the answer is…Paulette Goddard.
 

I think I need to make my next ‘Name That Star’ a little harder next time or at least think about changing the name of the image when I upload it. Haha. But to me, the most interesting feature of the photos is the amount Paulette changed from both eras. She definitely rivalled the Queen of the Hollywood transition, Joan Crawford, and definitely were a factor in her future fame. Her blonde tresses were not only an indication of the style trends of the early thirties (note some of Bette Davis’s ridiculous Precode hair do’s) but also her close and trusting relationship with her second husband, Charlie Chaplin, who she met in 1932 during her Goldwyn Girl days and who reportedly persuaded Paulette to alter her hair colour. Below is a little article about Paulette’s blonde days, her early relationship with Chaplin and her transition into becoming a brunette.
 
The Blonde Hair and Charlie Chaplin
Paulette Goddard began her film career, like many classic actresses, as a blonde. I have read somewhere that she originally began wearing platinum wigs over her natural brunette locks for her first roles in several Laurel and Hardy and Hal Roach shorts. The blonde hair stuck and she reportedly dyed her lengths after receiving more significant parts and a place in the popular ‘Goldwyn Girls’ troupe. She appeared as a chorus girl in several Eddie Cantor musicals, for example, ‘The Kid from Spain’ (1932), ‘Roman Scandals’ (1933) and ‘Kid Millions’ (1934). Her life changed when, in 1932, she met legendary film director, writer and actor Charlie Chaplin.  According to CharlieChaplin.com, Chaplin was invited to a weekend cruise aboard a yacht owned by United Artist chairman and president, Joe Schenck.  The pair met during the party and Chaplin gave Paulette sound financial advice regarding a proposition of a $50,000 investment she was going to make into a dodgy movie company. They became close from this meeting.
Chaplin and Paulette during late 1932:

 
It was during the period between her film appearance in ‘Kid Millions’ (1934) and her next role as ‘The Gamin’ in Chaplin’s classic, ‘Modern Times’ (1936) that Paulette was persuaded by Chaplin to change her hair colour back to a more natural – and some say more beautiful – raven. The part was only a minor role but it was definitely a step-up from her chorus girl background. The alteration to her appearance and her positive professional and personal relationship with the film-maker enhanced her standing among the Hollywood community. Although the six year marriage ended in 1942, its conclusion was probably the least bitter and sensational of all Chaplin’s divorces perhaps due to the friendship they still shared or Paulette’s enduring gratitude over Chaplin’s good hair style advice from a decade before.   
Chaplin and Paulette in ‘Modern Times’ (1936)
 
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Drugs for Laughs: Jewel Robbery (1932)

June 10, 2014, 5:30 pm
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Jewel Robbery 1932 is another one of those amazing Precode films that is unabashedly full of sin - from, sex, drugs, crime and adultery – but never seems to cross the line into unwatchable salaciousness or exploitation. I suppose it is probably due to the incredibly personas and acting of Kay Francis and William Powell along with a light, witty script, beautiful costumes and art deco sets. But Jewel Robbery stands up above all other Precodes for its hilarious treatment of drugs, used to drive a comedic sub-plot. William Powell plays an impeccably mannered robber in Vienna who, during a jewel heist, meets bored, married aristocrat Baroness Teri von Horhenfels (Francis). He tries to subdue her both with threats and subtle persuasion but he can’t seem to detach himself from her. She instantly becomes infatuated with the robber whose manners, “bad boy” appeal and wit is irresistible. They play through the scenes of the robber’s near misses with the law and tempting trysts in the Baronesses rooms and darkened alleys with surprising serenity, charm and steady emotions.

Powell’s character, to the probable shock of modern audiences, uses an unorthodox method to keep the authorities at bay – marijuana. To every witness, policeman and official he offers a harmless “herbal” cigarette and all (except the Baroness) eagerly accept without anticipating the consequences. The result is a hilarious group of scenes with distinguished men howling with laughter and making almost imperceptible jokes, letting the robber slip easily through their clutches. Although it is not mentioned by name, there is no doubt the type of substance that is causing all this amusement, but if you don’t believe take a look at this video I created with all the best bits:
  
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This Week in Precode History: 15th - 21st June

June 14, 2014, 7:20 pm
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Another interesting week in Precode history:
  • Fay Wray apparently almost drowned in a rip in Playa del Rey this week. She was saved, not by a lifeguard, but director George Hill who had a home in the area and brought her ashore.
  • A startling new magazine campaign was launched in 1934 to promote Mae West’s new film, ItAin’t No Sin (later changed to Belle of the Nineties). Have a look:
(found at the Media History Project)
  • West even made a speech regarding her film to delegates who arrives in Hollywood for the Paramount convention,
“When they told me 300 new men were coming to Hollywood, especially Paramount men, I took the day off. You’re due for several surprises here. Pleasant ones. I’m getting one ready for you now – It Ain’t No Sin. I’d like to have every one of you come up an’ see me, but you have to get a permit here to hold a meeting. Seriously, though, I appreciate the splendid salesmanship and showmanship which everyone in Paramount has demonstrated in handling my pictures. You’ve done right by me, and you have my word that you’re the men in my life I’ll never do wrong.”
  • Even the heat off screen influenced film advertisements this week:
(found at the Media History Project)
  • Jackie Cooper was announced to appear in the upcoming film, The Bowery, alongside George Raft, Steve Brodie and Wallace Beery and Raoul Walsh directing. Filming was due to start July 1.    
  • Two American films were box office smashes in London this week in 1933. Gabriel Over the White House and Murders in the Zoo brought in large crowds.
  • Oliver Hardy, of Laurel and Hardy fame, filed for a divorce this week from his wife he married in 1921. He, “alleged mental cruelty and intoxication.
Laurel and Hardy and their wives (found here)
  • The notorious nudist film Elysia was approved for exhibition at the Chicago World’s Fair 1933 this week. This was allowed as the board overseeing the Fair was considered outside the jurisdiction of the Chicago censor board.
  • The film Born to be Bad scheduled for release in 1934 was put back to work for retakes of apparently “half of the picture” because of the advice of the Hays office. Writers, Anita Loos and John Emerson were engaged to re-write a number of scenes.
  • Some quotes from Hollywood management that came out this week:
“Criticism, good, bad and indifferent, is evidence of the important position of the screen as an art. The final product of our studios is established by the audience, as well as by authors, writers, directors, artists and the technicians.” Will H. Hays
“The public is tired of glamour.” Samuel Goldwyn
“I believe audiences still like fast, dramatic entertaining action on the screen.” Harry Beaumont.  




(all found at the Media History Project)
 
On another note, I have to acknowledge the sad passing of Carla Laemmle aged 104. Her acting achievements and connection to the history of the film industry itself, will make her legacy long-lived. Rest in Peace Carla.    
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Precode Recipe 3# Dolores del Rio

October 16, 2013, 7:21 pm
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Who would have thought this exotic icon was a domestic goddess as well:


Dolores del Rio - Pecan Fudge
 
 
2 cups sugar
2/3 cup bitter chocolate
2 tablespoons butter
1 cup cream
1/2 teaspoon salt
2 cups pecans
1 teaspoon vanilla
 
Stir together the sugar, chocolate, cream and salt. Cook in a saucepan over moderate heat until mixture will form a soft ball in water. Stir constantly to prevent burning. Remove from heat, add the butter, letting it melt without stirring. Let stand in a pan of cool (not cold) water until lukewarm. If it is allowed to cool too suddenly it will become “sugary.” Beat until thick. Add chopped nuts and vanilla and pour out into a tray, about half an inch thick. Put in fridge until set. Makes about twenty-four squares. Enjoy!
 
 
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The Tyrannical Wallace Beery: Gloria Swanson – Part 1

June 21, 2014, 7:38 pm
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No one reached the heights of audience adoration, frenzy and fame more than the charismatic silent star, Gloria Swanson. Her short period in the top of the Hollywood spotlight as the classy, expensive and fashion-forward starlet altered trends, generated millions in sales and made her seem much taller than her five foot tall frame. Conversely, Wallace Beery appeared to film-lovers everywhere to be the epitome of the exact opposite. With his rugged, line-filled face, ape-like body and husky voice, Beery was quickly wedged into type-casted roles as villains, rough working men and hardened gangsters. The pair were not the perfect romantic match either off or on camera but for a short period early in the 20th Century they were – to the public – basking in unspoiled marriage bliss. However, decades later in her tell-all autobiography, Swanson spilled a ghastly secrets of their three year union that made Hollywood fans everywhere question the real connection between Beery’s actual temperament and his onscreen persona. Claims, such as, physical abuse, rape, drugging and forced abortions, showed the apparently terrifying reality of the short marriage.
Like with all historic scandals, time plays a crucial part in determining truth from lies and, with the lapse of almost 100 years, the facts may never surface. I have tried to dig up as much information about the relationship as possible. On the surface it appears Beery’s character to be extremely flawed if not criminal, but with an odd article from Hollywood power journalist, Louella Parsons, portraying Swanson as a manipulative starlet, one has to decide for themselves.

Gloria Swanson – born March 27, 1899 – was discover aged only fifteen. Parsons recalled the first impressions of a director working for film studio Essanay on his new find:
“Say, two good-looking extras came to work today. A girl named Gloria Swanson, who wore the most awful clothes I have ever seen, and a young slim beauty called Agnes Hinkle (Ares).” 
Swanson, 1915
 
Swanson despite her shabby appearance was signed by the Chicago company to feature in several pictures. Her screen debut was as an extra in The Song of Soul (1914) and for the next few years appeared in a handful of minor roles including as a stenographer in His New Job (1915) starring a young Charlie Chaplin. While Swanson was learning the ropes, Beery was already an Essanay regular having joined the company in 1913. He was a popular leading man for the studio appearing in a series of comedy shorts surprisingly in drag as a Swedish maid named Sweedie. The features in name and plot were fairly unimaginative but proved a useful stepping stone in Beery’s career.
With both Swanson and Beery on the Essanay payroll it was inevitable that the pair would at some time meet. The situation surrounding their early relationship is hazy with one source claiming it was Beery who first felt an attractive towards Swanson and was rebuffed. Beery at the time, it will be noted, was thirty and perhaps too old for the teenage Swanson. According to Parsons the relationship was completely different. She attests it was Swanson, who acting like some kind of desperate seducer, was the first to make contact between the pair:
 “Wallace Beery at that time was the owner of the fastest racing car in Chicago. Gloria took one look at that low-bodies yellow roadster and asked: “Who owns it?” “Wallace Beery,” she was told. “He is the director and star of Sweedie comedies.”
 “…first he was impervious to the little Swanson girl’s smiles. But no matter how attractive the girls with whom he was having lunch Gloria would besiege Mr. Beery with notes. Eventually, Wally, good-natured, lovable and without the Don Juan qualities of some of her later lovers, felt sorry for the little girl who so frankly let him see she was interest in him.” He then started taking her driving in his car. “At first indifferent, Wally later fell in love with the Swanson girl.”
Beery (left) in drag as Sweedie
No matter who was the instigator, the pair appeared to be in love even starring together in an Essanay production, The Broken Pledge (1915). A year later everything changed; Beery had been fired from the studio and Swanson was now an actress growing in fame and talent. After this failure, Beery left Chicago hoping to make it big in Hollywood.  Like all events surrounding Beery’s life the truth is unclear. One source claims his move to Los Angeles was due to a concealed scandal with a young woman on the set; however, Parsons, as illustrated below, has different account of events:
“Wally, to all intents and purposes, was pretty well set at Essanay until he took to speeding. Arrested four times, the judge finally told him if he again speeded in his yellow demon it would be a jail sentence. Just to make the judge’s words more emphatic, George K. Spoor, head of Essanay, sent for him and said: “Mr. Beery, if you are arrested again this company can do nothing for you.” What, then, was Mr. Beery to do when a traffic cop again gave him a ticket for speeding? He took the first train for California. He had heard Hollywood was the place for all movie actors.”  
After Beery had established himself in Hollywood, he apparently sent Swanson a postcard urging her and her mother to join him. In 1916 she agreed, leaving her contract with Essanay and moved to a house on Cahuenga Blvd that had been arranged for them by Beery.  With his help and connections at Keystone, she was hired by its owner, legendary comedy director, Mack Sennett. Swanson’s first film for the company was even featuring alongside Beery inA Dash of Courage (1916). The same year Beery proposed to Swanson. According to reports, Swanson initially gave no answer to Beery but after a week’s contemplation, she accepted him. As a romantic gesture, Swanson decided wanted to elope with Beery to Santa Barbara and marry on her 17th birthday. However, without a birth certificate, proof of age or parental permission, they were unable to marry and the pair had to return to Los Angeles to pick up Swanson’s mother. Despite the troubles and arguments, Swanson and Beery were finally marriage in March, 1916 in Pasadena.
Swanson and Beery
Get ready for part two including the scandalous wedding night and disastrous months of marriage!!
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