Showing posts with label Marlene Dietrich. Show all posts
Showing posts with label Marlene Dietrich. Show all posts

Tuesday, November 1, 2011

Mary, Mae, Marlene and Doris: Industrial Strength Blondes

Twelfth in a series about strong women in film. Strong women are independent, beautiful, sexy, feminine and just want everything in life that a man wants and believe that they have every right to have it!

Blondes have a reputation. To have a "blonde moment" these days means something empty-headed and silly. The "dumb blonde" is a long-standing joke - she's sexy, but not very bright. Before the advent of one very sexy blonde by the name of Jean Harlow, blondes were also looked upon as pure and virginal (while the wicked and sinful woman was a brunette). Here are four movie blondes who took those stereotypes and stood them on their heads.

Mary Pickford: Girl Power
Mary Pickford was one of film's first superstars. "America's Sweetheart" stole the hearts of the world. Today, by those not familiar with her work, Mary Pickford is viewed as the virginal blonde, just a woman playing a little girl whose appeal belongs to the ancients. 


Well, that just couldn't be more wrong. Mary Pickford, in the days of Hollywood's infancy, was the embodiment of the all-confident, all-powerful spirit of the adolescent girl. Secure in her strength, no man, woman, child or force of nature can defeat the girl and the high esteem in which she holds herself. The doubts of maturity have not yet invaded her psyche. True to the times, she is morally beyond reproach, but she knows her power. The pre-Raphaelite hair, the sensuous hands, the luminous eyes all held out the promise of womanhood, but before the surrender. Mary was the girl who belonged to no man, only to herself. She was undefeatable. 
In real life, there was no woman in Hollywood more powerful than Mary Pickford. She crafted a career second to none and, along with her Charlie Chaplin, D.W. Griffith, Charlie Chaplin and her husband, Douglas Fairbanks, founded United Artists. Her artistry, financial acumen and negotiating prowess were legendary.

Mae West: The Strength to be Fabulous
Is there any woman, blonde or otherwise, more powerful than Mae West? Posing as a 19th century woman of questionable virtue, she was really a very modern woman advocating the shocking notion that a woman had the right to enjoy her life. What a concept!


In the dark days of the Depression, Mae's joyful outlook was a tonic. The Queen of the Double Entendre, she battled the censors like a cat playing with a mouse. One could go on all day about this glorious blonde, but nobody can sings her praises better than Mae herself. Here's just a few a Mae's famous words of wisdom:


"A dame that knows the ropes isn't likely to get tied up."
"A hard man is good to find."
"An ounce of performance is worth pounds of promises."
"Anything worth doing is worth doing slowly."
"Give a man a free hand and he'll run it all over you."
"I believe that it's better to be looked over than it is to be overlooked."
"I never worry about diets. The only carrots that interest me are the number you get in a diamond."
"Whenever I'm caught between two evils, I take the one I've never tried."
"Too much of a good thing can be wonderful."
"Ten men waiting for me at the door? Send one of them home, I'm tired."
"I used to be Snow White, but I drifted."
"I'll try anything once, twice if I like it, three times to make sure."
"I've been in more laps than a napkin."
"It's not the men in my life that count, it's the life in my men."
Of course, Miss Mae did it with humor, but her confidence in her allure and her brains was a lesson to all those women who just couldn't help being sexy and smart. In real life she was a canny magician who made the illusion last long after the sun had set. To quote Mae once more, "You only live once, but if you do it right, once is enough." 

Marlene Dietrich: 
The Strength to be Devastating
Did Marlene really have a choice? So seductive, mysterious and devastating to both men and women, what choice did this creature have but to be herself? Was it her fault that men worshiped her became her slaves? Was it her fault that women envied and admired her? I think not. Garbo shared the same cross, but Dietrich carried it with humor and flair. Garbo's cross at times seemed a heavy burden; Marlene's was light as a feather.


You see, Marlene was quite brilliant. Instead of fighting the inevitable, she embraced her power to devastate and reveled in it. Like a beautiful jungle cat, she simply is what she is and, if you don't like it, well, you're lying.
In real life, Marlene was a mass of contradictions. However, when it came to the courage of her convictions, she was a tower of strength. The bravery she demonstrated during World War II is legendary and helped add dimension to a femme fatale who seemed to have sprung from a fantasy.

Doris Day: The Strength to be 
Independent and Happy
If ever there was an actress whose reputation has been unjustly maligned, it's Doris Day. Anyone who thinks of her as the "professional virgin" who never said "yes" clearly does not know Doris' work. Aside from a few films, Doris was always a woman whose strength was on display. True to the times, if she said "no" (mainly because she didn't like a fellow or just didn't want to), it was interpreted by the rejected suitor as the response of a frigid woman. It was all done in jest, but the image stuck.


The fact is, at the height of her fame, the image Doris Day projected on film was that of an independent woman, many times a career woman, many times a common-sense housewife who was usually more than a housewife. She was well dressed, smart, crisp and honest. She was always sincere, honest and a straight shooter. There was a sureness about her and a competency in all of her characters that made you feel that, as long as Doris was in charge, all would be well.


In real life, Doris had one of the most successful and diverse careers in Hollywood and beyond. A star of radio, recordings, movies and television, Doris endured some private tragedies, but emerged  - well, just like Doris Day - triumphant. Not only has she devoted the last several decades of her life to her passion,  the Doris Day Animal League and the animals whose rights she protects and defends, but she also became the oldest recording artist to top the charts in the UK with an album of new material. At age 87 Doris has a hit album, My Heart, and it couldn't happen to a nicer person.



Sunday, August 21, 2011

What's So Great About......? or The Fault Lies Not in Our Stars



Once upon a time, when I was a very obnoxious teenager with pseudo-intellectual  pretensions, I made my father throw his napkin at me at the dinner table. Dad had come home after a hard day's work as a mechanic and I had come home from a hard day with Shakespeare. As I was rhapsodizing over the macaroni and cheese about the beauty of Shakespeare's words (my Mom was a willing listener), my Father grumbled, "what's so great about Shakespeare? I don't think he was so much." Insufferable little brat that I was, I said something to the effect that "there's nothing wrong with Shakespeare. You just can't appreciate him." Hence the flying napkin.

While I might have not phrased my words in quite the right manner and tone, I still (after all these years) think I was right. Some things and people are just special and our failure to appreciate them does not diminish their greatness. While I got the Shakespeare thing right off the bat, there were a few other generally accepted greats that either (a) it took me some time to appreciate, (b) I am in the process of learning to appreciate, or (c) I give up! I just don't get it.


A: It took me some time, but I am on board


Joan Crawford: Having first encountered her in "What Ever Happened to Baby Jane," it took me quite some time to work backwards through the eyebrows and lipstick until I finally made it to "Mildred Pierce." After that, a fabulous journey through the '40s and '30s and I am now on board the Joan Crawford Star Express. Forgive me, Joan, for not taking the time to find out what your fans always knew - you are magnificent! I'm sorry I ever asked "what's so great about her?"


Rudolph Valentino: It is difficult to assess the appeal of a silent film star unless you are fortunate to see them in a good print with good music. Sadly, my first encounters with Rudy were poor copies shown at the wrong speed with that awful overly dramatic organ music. And then, one night, the sheik stole into my tent via a beautifully restored version of "The Son of the Sheik" with a beautiful score and suddenly, I knew what all the fussing and fainting was about. By the way, he's still in the tent with me!


Vertigo: Being foolish and shallow, I initially couldn't get past Kim Novak's dark hair and eyebrows as Judy Barton. Boy, am I glad I gave this one a second chance. "Vertigo" is now one of my favorite movies. I find it endlessly compelling and - most delicious of all - am never quite satisfied. I still, after watching this movie more times than I can count, have questions. Of course, my biggest question is what took me so long to get on board?


Norma Shearer: I used to think her unattractive. Silly me. That's when I thought all beauty was just super-prettiness, not something more individual. Norma, like all great stars, was like nobody else. Her delivery, her look, even her stance was unique. She is definitely a product of her time and MGM, but I find her glamour, her magnificence and yes, her talent, undeniable. Plus, she has one of my favorite profiles. Long live Norma!




B. I'm on my way, but not there yet


Marlene Dietrich: I confess I was never a big fan of this fabulously individualistic star. There is truly no one like her. However, I tend to be emotionally drawn to people, and Marlene left me a little cold. But she and I have warmed up over the years and I can honestly say I truly appreciate her for all that she was over her long and illustrious career. She was beautiful, elegant and one of a kind. I'm in your camp, Marlene, just not in the front row (yet).


Humphrey Bogart: I get it. He's great. Again, I can name countless films of his that I love, but, emotionally, it was taken a very long time to make this connection. But I am much farther along than I used to be. I acknowledge that he is a great actor and great star. And yes, he is making inroads to my heart. I can't deny him in "Casablanca" and "The African Queen," but it's "The Maltese Falcon" that really gets to me. Bogey was made to play those men in the shadows who nurse a tender heart behind a tough exterior. It took me some time to see the tender heart.


The Wizard of Oz: I have had a love/hate relationship with this movie all of my life. I totally appreciate it, but on some level something has always felt a bit "off" to me. I adore the beginning back and white portion in Kansas, but once they get to Oz, I always get a bit nervous. I would never "dis" this film, but I am still not over the flying monkeys, munchkins, the Halloween lion suit and Glinda in her big hat and prom dress. Judy, Ray Bolger and Jack Haley are just swell. I don't know that I will ever be totally under its spell, but acknowledge this film's greatness and its special place in the hearts of movie lovers of all ages.


C: Still Trying,but not having much success


Marlon Brando: Unfortunately, I still don't get it. I am resigned to being in the minority on this point, but I find him most unpleasant. He may very well be a great actor, but I always get the impression that he is doing me a favor by showing up. Help me get in step with the rest of the world on this one!


Burt Lancaster: Another actor who is loved by millions, but who sets my emotional radar on "suspicious" mode. I appreciate him and can name a score of his films that I admire and enjoy, but I always have a bit of a negative reaction when I see him on screen. I find him overpowering in an uncomfortable way. Maybe it's because he excels at playing characters who make you feel uneasy (I really do love "Sweet Smell of Success") But - I know it's me, not him, so I will keep trying! I think I'll have better success here than with Brando.


And: The Sin of Sins


The Godfather! I'm sorry, I'm sorry, sob, sob, sob, I'm sorry, but I just can't get it. I know it's great. Everyone tells me so. I bow to its enduring place in the pantheon of great films. So, why do I run every time it's on? This probably calls for an intervention of some kind.


So, now you know my dirty little secrets (well, some of them). I'll bet that someone out there just hates "Citizen Kane" (I love) or "Casablanca" (I like)! Care to 'fess up and keep me company?

Tuesday, July 19, 2011

AIN'T NOTHING LIKE THE REAL THING, BABY

Only the public can make a star. It's the studios who make a system out of it.                  Marilyn Monroe                                        
                                                                                             
Some stars are made by the public and some are the creations of, as Norma Desmond called them, "the masterminds." The Hollywood moguls of old liked to think that they had the power to create a star. Like Professor Henry Higgins, they imagined they could take the most improbable subject and transform him or her into someone the public would embrace.
By George, I really did it!
Once they hit upon a winning formula, their instinct was to mass-produce like a factory. It usually didn't work. Copycat stars rarely step out of the shadows of the originals, but once in a while, one is individual enough to stake a claim of their very own.


Here a just a few of the originals and their imitators:


The Original: Charlie Chaplin
Chaplin's enormous popularity spawned quite a few imitators, including:
The Copies: Billy West
West's greatest fame lied in his uncanny impersonations of Charlie.  Other than that, the rest of his career is merely a footnote.

Harold Lloyd
Yes, even the great Harold Lloyd started out as a copycat as "Lonesome Luke", a clear Chaplin rip-off. This always made Lloyd uncomfortable, and it wasn't until he hit upon his "glasses" character that his own genius was allowed to flourish (thank goodness!).


The Original: Rudolph Valentino
Valentino's popularity spawned a slew of exotic lovers, but none could touch the original.


The Copies: Ricardo Cortez


Ricardo (born Jacob Krantz) was totally manufactured star who managed to survive the Valentino craze and go on to have a respectable career in films before ditching them for a lucrative career on Wall Street.


Antonio Moreno
Best remembered as having "it" alongside Clara Bow, Moreno had a long, if unspectacular career. 
Ramon Novarro
A copy with real staying power and star quality, Novarro inherited the mantel of "Latin Lover" after the death of Valentino. He had a long career and a legion of fans.


The Original: Mary Pickford
Mary Pickford was the most popular woman in the world during the peak of her stardom. While many tried to copy her, no one could come close.


The Copy: Mary Miles Minter
Mary Miles Minter gave Pickford a run for her money for a short while, but a lack of fire, real talent and her role in the William Desmond Taylor murder mystery put an end to her career.


The Original: Pola Negri
Pola was the original foreign exotic.


The Copy: Greta Garbo

Although Garbo was originally placed in Pola-like roles, she proved to be too much of an original. Before long, stars and studios were emulating Garbo, but by then she had established herself as beyond duplication.


The Original: Marlene Dietrich
They should have known better - you don't copy this!


The Copy: Anna Sten
Known as "Goldwyn's Folly," the beautiful Miss Sten was brought by Goldwyn to Hollywood as his studio version of the foreign exotic. Unfortunately for both, Miss Sten did not click with the public.


The Original: Ronald Colman


The perfect, cultured and romantic Englishman. This was such a popular "type" that many were needed to fill the role!


The Copy: Brian Aherne


Brian Aherne was a very respectable "second choice" Colman (he was awarded the starring role in "A Tale of Two Cities," but it was taken away from him when his friend Colman became available). 


The Original: Errol Flynn


Looks alone did not define his appeal. Although others tried, Flynn's looks, talent, charisma and charm were a hard package to duplicate.

The Copy: Patric Knowles
Signed because of his resemblance to Errol, Patric never made it into the leading man category. Really, a passing resemblance, at best.


The Original: Freddie Bartholomew
This precocious little British boy was a huge star for a time.


The Copy: Roddy McDowell
Another case where the copy had more staying power than the original. While Freddie was usually an upper-crust kind of  kid, Roddy was blue collar. And when Freddie grew up and went on to other things, Roddy stayed with us forever.


The Originals: Hope & Crosby
This stellar crooner and comic combination was a hit with the public. 


The Copies: Morgan & Carson
Warner Bothers tried to duplicate the success of the "Road" pictures with the "Two Guys" series featuring crooner Morgan and comic Carson ("Two Guys From Texas," "Two Guys From Milwaukee," - you get the picture), but the chemistry between Bob and Bing could not be manufactured.


The Original: Marilyn Monroe
The one, the only. To this day, she is copied endlessly, but never duplicated.


The Copies: Jayne Mansfield


Mamie Van Doren
Sheree North
All three ladies were blonde, beautiful and talented. Some were more successful than others, but none came close to MM.


The Original: Grace Kelly


Cool, blonde, beautiful, talented, but with a warmth that set her apart.
The Copies: Dina Merrill
Talented and beautiful, for sure, but so cool she was chilly.


Tippi Hedren
Cool and lovely, but no Grace (sorry, Hitch).


The Original: Sophia Loren
This Italian sex-goddess inspired many copies, but Sophia had more than sexy going for her.


The Copy: Gina Lollobrigida
Turns out, Gina had more to offer than the Italian sex-bomb roles she was offered and turned to photojournalism for a second and rewarding career.


The Original: Robert Redford
This male blonde beauty look was all the rage in the '60s, but try as they might, Redford had that certain something that could not be duplicated.


The Copy: Nick Nolte
Hard to believe now, isn't it?


If imitation is the sincerest form of flattery, then these originals should be blushing! As for those "masterminds" who think you can mass-produce a star - back to the drawing board. 






For more fun movie facts and fantasy, check out "Flesh and Fantasy" by Penny Stallings and Howard Mandelbaum (I confess to being a bit of a copycat myself!). It's a very fun book!