Archive for September 2013

Get in the ‘Picture (Play’)   Leave a comment

Posted by vp19 on 2013.09.20 at 09:08
Current mood: curiouscurious

carole lombard picture play june 1932a blue heaven 01b

Last year, we ran an entry about the June 1932 issue of Picture Play, which featured not only the above image of Carole Lombard, but an interview with her as well (http://carole-and-co.livejournal.com/538356.html):

carole lombard picture play june 1932 blue heaven 00a
carole lombard picture play june 1932 blue heaven 02a
carole lombard picture play june 1932a blue heaven 03

That issue is now on sale at eBay…but before we fill you in on the particulars, how about some more from June of ’32?

Carole, revealing so much glimpse of stocking you nearly see her garter, is in a one-page promotion of her latest movie, “Sinners In The Sun”:

carole lombard picture play june 1932a sinners in the sun

She’s also seen in a Max Factor ad for blondes, although the company elsewhere provides equal time for brunettes via petite Sidney Fox…

carole lombard picture play june 1932a adpicture play june 1932bc

…although Fox gets the cover as well:

picture play june 1932b cover

One of the letters, from a “Jeanne” in Beverly Hills, praised Tallulah Bankhead’s acting and wondered why Paramount didn’t promote her more, comparing Bankhead to Lombard, whom she referred to as “hopeless” (at that time, Carole might well have agreed with her):

picture play june 1932bb

But Paramount indeed was promoting Tallulah, as this full-page ad shows:

picture play june 1932aa

A southern belle who was getting the push from Paramount was Miriam Hopkins, and Picture Play noted her ascent:

picture play june 1932ca
picture play june 1932da
picture play june 1932ea
picture play june 1932fa

Note there was a place in New York where you could order stills of stars or scenes from recent movies, long before Movie Star News and other outfits appeared. And speaking of stills, here in sepia are Karen Morley…

picture play june 1932ga

…and as always seems to be the case in these magazines, Loretta Young:

picture play june 1932ha

You can buy this magazine (pages 59 and 60 are missing) for $14.99; if interested, visit http://www.ebay.com/itm/PICTURE-PLAY-1932-Billie-Dove-CAROLE-LOMBARD-Randolph-Scott-BARBARA-STANWYCK-/400574741013?pt=Magazines&hash=item5d441d7a15.

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Posted September 20, 2013 by vp19 in Uncategorized

Studio snapshots, ’20s style   Leave a comment

Posted by vp19 on 2013.09.19 at 09:19
Current mood: nostalgicnostalgic

carole lombard fox 00c

A 16-year-old Carole Lombard, a newly-signed starlet with Fox, must have felt she had achieved a dream when she posed for this portrait in 1925. But much had passed since her “debut” four years earlier when, as Jane Peters, she’d had a small part in “A Perfect Crime”:

carole lombard a perfect crime 01b

The girl’s infatuation with movies only amplified in ensuing years — and as a Los Angeles resident, she fortunately was right in the midst of it. First at Virgil Junior High, then at Fairfax High School, Jane began planning and dreaming of future cinematic glory.

She probably read many of the era’s fan magazines, among them Motion Picture –– which from November 1923 through August 1924 ran a series of profiles of the various studios in what was collectively called “Hollywood.” These weren’t detailed descriptions of each place; instead, the series, written by a Sally Steele, was called “Vignettes Of The Studios.” She used her typewriter to paint word impressions of the distinctly different atmosphere around each place…places Jane Peters would frequent during 1924 as she sought work in the industry.

We’ve run photos of these studios during this period (http://carole-and-co.livejournal.com/200436.html); now, let’s get a contemporary account of these magic factories, sites most readers of Motion Picture –– far removed from Los Angeles — considered a far-off land.

We’ll start in the November 1923 issue with the Lasky studio (later more popularly known as Paramount, but before its relocation to Melrose Avenue):

motion picture vignettes of the studios 01a lasky november 1923

December 1923 takes us to the Ince studio on Washington Boulevard in Culver City…a venue the future Lombard would know well from working at Pathe in the late 1920s and Selznick International in the late 1930s:

motion picture vignettes of the studios 02aa ince december 1923
motion picture vignettes of the studios 02bb ince december 1923

As 1923 transitioned into 1924, the January issue profiled the Metro studio, which before the new year was out would merge with two other studios and pull up stakes:

motion picture vignettes of the studios 03a metro january 1924

February would find Steele in the Hollywood hills, visiting Universal:

motion picture vignettes of the studios 04a universal february 1924

The aforementioned Metro’s eventual destination was profiled in March — the Goldwyn studios in Culver City (although by now Samuel Goldwyn had nothing to do with the operation), the initial home of Ince and Triangle. Oh, and some guy named Louis B. Mayer would link his production company with Metro and Goldwyn before the year ended:

motion picture vignettes of the studios 05a goldwyn march 1924

Next up in April, Charlie Chaplin’s studio (though it didn’t look like one). Not long after this ran, 15-year-old Jane Peters came here and was interviewed by Chaplin for his leading lady role in “The Gold Rush”; she didn’t get the part, and legend has it he deemed her “too pretty” (http://carole-and-co.livejournal.com/125415.html):

motion picture vignettes of the studios 06a chaplin april 1924

In May, Steele examined the Pickford-Fairbanks studio, where Jane unsuccessfully sought employment in 1924. The property was later owned by Samuel Goldwyn and leased to United Artists, and it was here that Lombard worked on what would be her final film, “To Be Or Not To Be”:

motion picture vignettes of the studios 07aa pickford-fairbanks may 1924
motion picture vignettes of the studios 07ba pickford-fairbanks may 1924

Carole’s first sustained studio home would be Fox, and Steele describes it in the June issue as a factory of sorts, with relatively little cinematic romance:

motion picture vignettes of the studios 08aa fox june 1924
motion picture vignettes of the studios 08ba fox june 1924

In July, Steele looked at Vitagraph, a studio that had seen better times. Jane Peters was hired by Vitagraph that summer and nothing much came of it…although it did persuade her to change her name, and she chose “Carol” in honor of a school friend (the “e,” and the “Lombard,” would arrive shortly thereafter):

motion picture vignettes of the studios 09a vitagraph july 1924

The series ended in August with Mack Sennett’s beloved comedy lot in Edendale. Lombard would later spend some time here, although most of her Sennett activity would come after Mack moved his outfit north to Studio City:

motion picture vignettes of the studios 10aa mack sennett august 1924
motion picture vignettes of the studios 10ba mack sennett august 1924

What’s interesting, in retrospect, are what studios weren’t profiled, studios that would play key roles in both the industry and Lombard’s work in it. There’s no mention of Columbia, then a Poverty Row outfit. Warners, which in a few years would shake up filmdom with its pioneering work in sound — first for music, then the spoken word — isn’t here; neither is Pathe, whose alliance with Sennett would aid Carole as she emerged from two-reelers. And in 1923 and ’24, “radio” was something you listened to (most likely on a crystal set) and wasn’t in the movie business…neither were Keith’s or Orpheum.

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Posted September 19, 2013 by vp19 in Uncategorized

‘Photoplay,’ April 1935: Blonde appeal   Leave a comment

Posted by vp19 on 2013.09.18 at 19:24
Current mood: contemplativecontemplative

carole lombard p1202-1051c

Ah, the power of blonde, a power Carole Lombard knew well. By 1935, it may have been waning in some corners — about this time, Central Casting reported that no more than a half-dozen platinum blondes were on its roster, and the princess of platinum, Jean Harlow, was in the process of mutating into something called a “brownette” (but still beautiful) — so Carole was holding the banner for blondes, as this page from the April 1935 Photoplay made clear:

carole lombard photoplay april 1935 larger

Oh, and the “I” is from Carolyn Van Wyck as part of “Photoplay’s Hollywood Beauty Shop.”

The magazine had some nice things to say about Lombard’s look. As for her latest movie, well…

carole lombard photoplay april 1935ba

A close-up on “Rumba”…ouch:

carole lombard photoplay april 1935bb

Carole’s mentioned in the “Hollywood, My Hollywood” piece, but most of it belongs to Bill and Bing, as in W.C. Fields and Harry Lillis Crosby, discussing the curious practice of tourists watching film stars eat:

carole lombard photoplay april 1935ca
carole lombard photoplay april 1935da
carole lombard photoplay april 1935ea
carole lombard photoplay april 1935fa
carole lombard photoplay april 1935ga

The cover star that month was Lilian Harvey, painted by Georgia Warren:

photoplay april 1935 cover large

That issue featured several pages of letters, but we’ll focus on this page for its theme of the treatment of the South (and southern accents) in movies, notably in “Imitation Of Life”:

photoplay april 1935aa

Cal York’s column discussed director Frank Capra, screenwriter Robert Riskin and their often-acrimonious relationship with Columbia honcho Harry Cohn:

photoplay april 1935ba
photoplay april 1935ca

You can buy this magazine, which is listed in good condition, for $19.99. Find out more at http://www.ebay.com/itm/PHOTOPLAY-1935-LILIAN-HARVEY-FRED-ASTAIRE-JEAN-ARTHUR-CAROLE-LOMBARD-CHAPLIN-/360742580904?pt=Magazines&hash=item53fdeef2a8.

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Posted September 18, 2013 by vp19 in Uncategorized

‘Silver Screen,’ April 1934: That funny divorce   Leave a comment

Posted by vp19 on 2013.09.17 at 07:56
Current mood: weirdweird

carole lombard william powell gloria swanson michael farmer 101333a shrine auditorium opera lawrence tibbett emperor jones

So what if Carole Lombard and William Powell no longer were married? It didn’t keep them from socializing together, as on this night, Oct. 13, 1933 at the Shrine Auditorium, when they accompanied Gloria Swanson and her husband, Michael Farmer to hear Lawrence Tibbett sing — less than two months after Carole had legally called it quits in Carson City, Nev.

Public appearances such as this threw Hollywood’s social whirl into a tizzy. Just what was going on here? Were Powell and Lombard having second thoughts about their split, and might this lead to another try at wedded bliss? Elizabeth Wilson, who was as close to Carole as any member of the fan magazine community, decided to find out — and the results are in the April 1934 issue of Silver Screen, an article entitled “That Funny Divorce”:

carole lombard silver screen april 1934a
carole lombard silver screen april 1934b
carole lombard silver screen april 1934c

In no uncertain terms, Wilson says Powell and Lombard aren’t getting back together as a couple, nor are they doing all this as a publicity stunt. Rather, they found the humor they cherished in their relationship worked best when they were friends. (Remember, at this stage in their careers, neither Bill nor Carole were identified as comic actors. That would change within a few months with “The Thin Man” for him and “Twentieth Century” for her, paving the way for their mutual comedic triumph in “My Man Godfrey” two years hence.)

The April ’34 Silver Screen has a few other stories on contemporary actresses, including one who was put on its cover, Constance Bennett:

silver screen april 1934 constance bennett

Inside, Connie talked a bit about the movie industry, noting it a place where women and men had equality (well, at least if you were a film star):

silver screen april 1934aa
silver screen april 1934b

There’s a nice piece on someone who would figure in the lives of both Powell and Lombard over the next few years — Jean Harlow — discussing about how nice it is for her to finally be recognized as an actress, and not merely a symbol of s-e-x:

silver screen april 1934c
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silver screen april 1934e

Carole would work with Una Merkel in 1937’s “True Confession,” but by early 1934, Merkel already was noted for her comedic gifts, as this article explains:

silver screen april 1934f
silver screen april 1934g

Finally, let’s look at Lombard’s Paramount pal, Claudette Colbert. This portrait points out she recently was at Columbia to work with another loanout, MGM’s Clark Gable…

silver screen april 1934h

…and the movie they worked on at Gower Gulch got good — no, great — reviews from Silver Screen:

silver screen april 1934j

Claudette even appears in a Lux ad…but note that in the body copy, she’s being promoted for the upcoming “Cleopatra,” a Paramount product (relatively few loanout pictures were given this sort of recognition):

silver screen april 1934i

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Posted September 17, 2013 by vp19 in Uncategorized

What they said about ‘Gable And Lombard’ (not Clark and Carole)   Leave a comment

Posted by vp19 on 2013.09.16 at 01:35
Current mood: aggravatedaggravated

carole lombard clark gable 061338 horse show larger

I don’t know if there’s some “psychic frequency” that connects mere mortals such as ourselves to the hereafter — especially the section populated by the classic Hollywood colony — but just to protect myself, I wish to announce this entry is about “Gable And Lombard,” the alleged 1976 biopic of Clark and Carole. (I don’t want to walk out the door one morning to find myself dodging lightning bolts from Carole Lombard…though after operating this site for 6 1/4 years, I’m sure I’m on good terms with her. At least I hope so.)

gable and lombard 05a

We’ve written about “Gable And Lombard” several times before (http://carole-and-co.livejournal.com/47604.htmlhttp://carole-and-co.livejournal.com/242909.html and some comments from screenwriter Barry Sandler at http://carole-and-co.livejournal.com/321033.html). Today, we’ll examine two contemporary reviews of the James Brolin-Jill Clayburgh film, plus an article detailing reaction to its historical inaccuracies.

The movie premiered in February, and on March 5, 1976, the St. Petersburg (Fla.) Evening Independent published its review. It wasn’t good.

gable and lombard 030576 st. petersburg evening independent 01

“Gable And Lombard” arrived in Syracuse that spring, and the local review from the evening Herald-Journal was similarly scathing:

gable and lombard 050176 syracuse herald-journal 00
gable and lombard 050176 syracuse herald-journal 01

In between the publishing of those reviews, the Newspaper Enterprise Association syndicate wrote a feature about how the script of “Gable And Lombard” took liberties with history for the sake of dramatic convenience. Many papers ran it, including the Warsaw Times-Union in Carole’s home state of Indiana on April 10:

gable and lombard 041076 warsaw times-union 00
gable and lombard 041076 warsaw times-union 01
gable and lombard 041076 warsaw times-union 02

That story not only provides insight into the controversy, but to the media’s knowledge of Hollywood’s past:

* Fred MacMurray may have been good friends with Gable, but he also made four films with Lombard — more than any other of her leading men. That isn’t mentioned, proof that in 1976, MacMurray’s career still was viewed through the prism of “My Three Sons” and Walt Disney and, oh yeah, didn’t he play a heel or two for Billy Wilder?
* Mervyn LeRoy directed only one movie with Carole — “Fools For Scandal,” one of her lesser efforts.
* Sandler’s comment, “This is not a documentary. This is a dramatic story with dramatic invention, without being sacrilegious to his memory” (emphasis mine), shows this was a Gable-focused story, understandable. But that doesn’t explain why the script shows Carole as initially a bigger star than Clark, something that never was true.
* Director Sidney Lurie admitted it was dramatic license to show Gable in uniform at the time of Lombard’s death, but added, “But I loved the image of him in uniform, so I cheated for four months.” Uh, Sidney, actually it was seven months, as Clark didn’t join the Army until August.

It was, however, good to see Jean Garceau, who was a personal secretary for both Lombard and Gable, say this cinematic emperor had no clothes (or at least was wearing the wrong ones). As time goes on, her comments increasingly ring true.

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Posted September 16, 2013 by vp19 in Uncategorized

Just a silent reminder   Leave a comment

Posted by vp19 on 2013.09.15 at 03:15
Current mood: pensivepensive

carole lombard the girl from everywhere 00c

Carole Lombard provides proper decoration to promote Mack Sennett’s four-reel comic extravaganza, “The Girl From Everywhere,” one of Lombard’s first films at Sennett. (Note how her face is angled, as part of the hat helps disguise the scar on her left cheek from that 1926 auto accident that ended her budding career as a Fox starlet.) We’re showing the silent version of Carole to remind people of something we’re doing about seven weeks from now, something we announced some six weeks ago (http://carole-and-co.livejournal.com/622015.html) — a blogathon called “The Great Silent Recasting,” set for Nov. 1 to 4.

In case you missed or forgot it, here’s how it works: Choose a movie made from the mid-’60s onward, then re-imagine it as a silent film, made in silent times with silent-era actors and a director, as well as a studio and year of release (1929 at the latest). More ground rules: If an actor or actress appeared in a silent, even in bit parts, he or she is eligible as long as the fictional fllm is made at a time when he or she was actually working. (So you can’t cast Rudolph Valentino in a movie made after 1926, since he died that year.) We’ll also assume studios can loan out personnel at will (e.g., you can ship Colleen Moore to MGM or Buster Keaton to Warners).

The fine site http://moviessilently.com/ (which originally was going to co-host, but now only will participate) has created “posters” for several recast silent movies, and here are a few to help you understand what the blogathon is about. (And no, you are under no requirement to make a poster to take part in “The Great Silent Recasting”; simply describing the film with the above parameters will suffice.) For example, imagine the 2007 Disney film “Enchanted” as a vehicle for the young Marion Davies in 1918, with William Randolph Hearst’s money (and ensuing sumptuous production values) to back it up:

the great silent recasting enchanted 00a

“True Grit” has been made twice in the past 45 years, first as a John Wayne vehicle, then a 2010 remake more faithful to the novel it derived from. Here, it’s shipped back to 1917 starring the king of realistic westerns, William S. Hart:

the great silent recasting true grit 00a

You can even create a live-version silent of an animated film…such as this, a 1922 version of “Despicable Me” with Erich von Stroheim and Mary Pickford (in real life, they deemed each other despicable, but here, they both loved the idea):

the great silent recasting despicable me 00a

In our August entry, we created a few promotional posters, so how about a few more?

the great recasting 2013 lillian gish 00b

the great silent recasting 2013 marion davies 00a

the great silent recasting 2013 charlie chaplin 00b

Interested? Leave a message below showing interest, and if you already have an idea, great; if not, surprise us. Hope to see you there.

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Posted September 15, 2013 by vp19 in Uncategorized

Perusing a ‘Classic,’ circa 1929   Leave a comment

Posted by vp19 on 2013.09.14 at 14:14
Current mood: nostalgicnostalgic

carole lombard motion picture classic may 1929a

Another sultry William E. Thomas portrait of Carole Lombard, this time bare-shouldered, provides her sole mention in the May 1929 issue of Motion Picture Classic...although a movie she had a supporting role in, “Ned McCobb’s Daughter” (now lost, the most recent Lombard film to suffer that unfortunate fate), is profiled in the magazine alongside “The Broadway Melody” and other movies out that spring:

motion picture classic may 1929la
motion picture classic may 1929ma
motion picture classic may 1929na

Here are a few other things from that issue, whose cover featured Clara Bow:

motion picture classic may 1929 cover clara bow large

Planning to visit Hollywood in the spring of 1929? (If you have room in your time machine and can guarantee a safe journey to and back, take us with you!) Ruth Biery provides a travelogue:

motion picture classic may 1929ia
motion picture classic may 1929ja
motion picture classic may 1929ka

Just watch out for that bootleg hooch, OK?

Since it’s still fairly early in 1929, the great transition to talkies is underway, and Motion Picture Classic notes 30 acting emigres from Broadway have headed west to try their luck, joining an army of writers following Herman J. Mankiewicz’s famous telegram to Ben Hecht (“Millions are to be grabbed out here and your only competition is idiots”). Among the 30 listed here, Robert Montgomery, Paul Muni and Claudette Colbert grabbed goodly shares of those millions (John Cromwell did too, albeit as a director); others earned somewhat less:

motion picture classic may 1929ea
motion picture classic may 1929fa
motion picture classic may 1929ga
motion picture classic may 1929ha

Others in the influx were covered in the column “Last Minute News”:

motion picture classic may 1929aa

Myrna Loy, still in her “ethnic” period, is shown in conjunction with her latest film, “The Squall”:

motion picture classic may 1929da

And, of course, there are ads, like this two-page spread featuring “WAMPAS Baby Stars of 1929” (including Loretta Young, sister Sally Blane, Anita Page and Jean Arthur) who attest to their use of Lux soap:

motion picture classic may 1929oa
motion picture classic may 1929pa

Continuing with beauty, here’s an ad for Colleen Moore face powder — although what makes this so unusual is there’s not any kind of image of Colleen in it!

motion picture classic may 1929qa

A few movies had ads. Warners promoted its part-talkie spectacle “Noah’s Ark”…

motion picture classic may 1929ca

…while MGM went the “all talking, all singing, all dancing” route with “The Broadway Melody,” the eventual Academy Award winner for best picture:

motion picture classic may 1929ba

This issue, which the seller says is in very good to “like new” condition, can be purchased straight up for $87.55, or you can make an offer; this semi-auction ends Oct. 10 if not bought by then. You can find out more at http://www.ebay.com/itm/MOTION-PICTURE-CLASSIC-may-1929-MAG-clara-bow-carol-lombard-great-cover-/310743126330?pt=Magazines&hash=item4859bbd13a.

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Posted September 14, 2013 by vp19 in Uncategorized

The AMPAS museum: From ‘May’ to ‘will’   Leave a comment

 

Posted by vp19 on 2013.09.13 at 12:56 
Current mood: excitedexcited

carole lombard my man godfrey 015b

All five persons pictured above, shown on the set of “My Man Godfrey” — from left, Alice Brady, Carole Lombard, Mischa Auer, William Powell and Gregory La Cava — were nominated for Academy Awards for 1936 (for best supporting actress, best actress, best supporting actor, best actor and best director, respectively). None of them would win awards at the ceremony, although Brady would win for best supporting actress the following year for “In Old Chicago.”

But you can be certain Lombard and her cohorts on that classic of screwball comedy will be honored in some way by the Academy of Motion Picture Arts and Sciences in a few years, when it finally achieves its long-sought dream of a film museum. It will officially be known as the Academy Museum of Motion Pictures…

ampas museum logo larger

…and its home will be at a place familiar to generations of Los Angeles residents — the Streamline Moderne-style May Co. department store building, built in 1939 and part of Wilshire Boulevard’s famed “Miracle Mile”:

ampas museum may co. 1949a

The concept of pairing AMPAS and the May Co. site first took hold in the fall of 2011 (http://carole-and-co.livejournal.com/454477.html). But the process won’t merely involve moving items and artifacts into the building, in recent years the site of an annex for the Los Angeles County Museum of Art. Just to the north of the original May Co. structure, where shoppers parked after the department store opened, AMPAS is building a huge sphere, the top half a roof terrace with views of the city, the bottom a state-of-the-art theater suitable for programs complementing museum themes. In all, the museum will house roughly 290,000 square feet; it’s expected to open early in 2017.

ampas museum from fairfax st large
ampas museum design 01a

Some of you may recall plans to build an AMPAS museum in Hollywood, but the economic downturn caused that concept to fall through. In contrast, funding is proceeding nicely for the May Co. site. The capital campaign measures some $300 million, a blockbuster even by current Hollywood standards, but contributions are coming along from industry bigwigs, related organizations and individuals. Learn more at http://www.oscars.org/academymuseum/, and also check out this brief video about it below. We hope that come 2017, Carole — who had a passion for just about all facets of the motion picture industry — will grace the museum in some shape or form, even if she didn’t win an Oscar. 

 
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Posted September 13, 2013 by vp19 in Uncategorized

‘Motion Picture,’ February 1932: Color that really isn’t   Leave a comment

Posted by vp19 on 2013.09.12 at 20:06
Current mood: deviousdevious

carole lombard motion picture february 1932aa

Nice color picture of Carole Lombard, doncha think? Actually, we should put quotation marks around the word “color,” because at the start of 1932, true color portrait photography still was a few years away for magazines. So the editors of Motion Picture used a few tricks in its February issue to make you think you were viewing Carole in honest-to-goodness color:

* A bright red background for most of the illustration.
* Lombard’s skin color is reasonably close to Caucasian flesh tone.
* Her lips are a bright, somewhat realistic red.
* She has on a hint of rouge that looks semi-natural.
* She is dressed in black velvet.

A pretty good production job for the time…and the copy compliments Carole for both brains and beauty, adding Paramount now was going to give her a significant push, beginning with her first top-billed role in “No One Man.”

Mrs. Powell is seen elsewhere in the issue, such as this swimsuit pic in one of the roundup columns:

carole lombard motion picture february 1932bb

Not so “daring” or “little” to our eyes.

carole lombard william powell 100731 wiltern theatre opening 01a

The previous October, Powell and Lombard were on hand for the opening of the Western (now the Wiltern) Theater, then owned by Warners, Powell’s new studio. Here’s what the magazine said about the ceremony:

carole lombard motion picture february 1932db
carole lombard motion picture february 1932dc

Didn’t know Powell served as the emcee, but given that wonderful voice of his, he was a natural.

We also learn about Powell the gift-giver:

carole lombard motion picture february 1932cb

And Carole is mentioned in a story about the Brown Derby (she likes its puddings for dessert), where it’s noted both Jean Harlow and Constance Bennett are fans of its onion soup. (We trust Jean and Connie didn’t order it if either had love scenes to shoot that afternoon.)

motion picture february 1932 brown derby 00a
motion picture february 1932 brown derby 01a
motion picture february 1932 brown derby 02a

This issue had plenty of other interesting things, such as Anita Page celebrating winter on the cover, courtesy of Marland Stone:

motion picture february 1932 anita page cover 00a

And take a look at these lovely portraits of Lombard’s old dance rival Joan Crawford and Carole’s close friend Kay Francis, who had just followed Powell from Paramount to Warners:

motion picture february 1932b joan crawford
motion picture february 1932b kay francis

Before the year was out, Lombard would appear in “No Man Of Her Own” with Clark Gable and Dorothy Mackaill, and as fate would have it, Motion Picture profiled both of them in this issue:

motion picture february 1932 clark gable 00a
motion picture february 1932 clark gable 01a
motion picture february 1932 clark gable 02a

motion picture february 1932 dorothy mackaill 00a
motion picture february 1932 dorothy mackaill 01a
motion picture february 1932 dorothy mackaill 02a

Finally, the magazine had a section called “Picture Parade,” reviews of recent films (some still known today, others obscure); while no Lombard movies are listed, the last page features two she could have appeared in, had illness or a refusal to be loaned out not got in the way — “The Greeks Had A Word For Them” and “Taxi!”:

motion picture february 1932 picture parade 00a
motion picture february 1932 picture parade 01a
motion picture february 1932 picture parade 02a
motion picture february 1932 picture parade 03a

Want to buy this? You can, for $44.99 (it’s said to be in good condition, with minimal damage). If you’re interested, visit http://www.ebay.com/itm/MOTION-PICTURE-1932-ANITA-PAGE-CONNIE-BENNETT-SYLVIA-SIDNEY-CAROLE-LOMBARD-GABLE-/400568761100?pt=Magazines&hash=item5d43c23b0c.

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Posted September 12, 2013 by vp19 in Uncategorized

Making news and being news   Leave a comment

Posted by vp19 on 2013.09.11 at 08:28
Current mood: contemplativecontemplative

carole lombard robert riskin 02a frontScreenwriter Robert Riskin often is overlooked among Carole Lombard’s beaus, but for a while in 1935 they definitely were what the Hollywood press might call “an item.” Here they are at what looks to be a racetrack (the newly-opened Santa Anita, perhaps?), a guess corroborated by info on the back of the photo:

carole lombard robert riskin 02a back

(I am guessing Modern magazines, which are Dell publications, are an abbreviation for Modern Screen among others; J.B. Scott took casual shots for that magazine in the mid-thirties. He also had a bit part as a photographer in the 1935 Cary Grant-Myrna Loy aviation drama “Wings In The Dark.”)

There aren’t very many photos of Lombard with Riskin, who had previously unsuccessfully wooed Glenda Farrell and would later win the affections of Fay Wray — two actresses who, like Lombard, appreciated writers. (In 1935, Wray still was married to John Monk Saunders, whose screenwriting works included 1927’s “Wings” and Carole’s 1933 film “The Eagle And The Hawk.”)

Interested in this 8″ x 10″ single-weight candid? Bidding begins at $99.99, and the auction closes at 11:06 p.m. (Eastern) Sunday. For additional information, visithttp://www.ebay.com/itm/CAROLE-LOMBARD-ROBERT-RISKIN-VINTAGE-8X10-CANDID-PHOTO-BY-J-B-SCOTT-/190899966118?hash=item2c728650a6.

That seller also has another vintage Lombard photo, one fairly common to current collectors but worth checking out just the same:

carole lombard publicity selznick 070738b evening news front

This was printed in the July 7, 1938 of a publication called the Evening News; there was a tabloid in Los Angeles at that time known as the Daily News, though I don’t know whether this is the paper in question. Note the photo was flipped in print, as well as the “downstyle” headline (unusual for newspapers of that era):

carole lombard publicity selznick 070738a evening news back

(From what we know about Lombard’s language, does anyone really think she was saying “Oh, gosh, darn”?)

The seller believes this to be taken at Carole’s bungalow at Paramount, but by mid-1938 she had little to do with her former studio. We know this to be from her week-long publicity stint at Selznick International Pictures in Culver City, but here, she’s already failed one requirement of a “flack” — in the first four paragraphs, at least, Selznick isn’t even mentioned (though her “shapely ankles” are).

This 8″ x 10″ is in fair condition, and the opening bid also is $99.99; bidding closes at 11:11 p.m. (Eastern) Sunday. To bid or learn more, go tohttp://www.ebay.com/itm/CAROLE-LOMBARD-VINTAGE-8X10-CANDID-PHOTO-IN-HER-PARAMOUNT-BUNGALOW-AT-HER-DESK-/190899967678?hash=item2c728656be.

Today we commemorate the 12th anniversary of that tragic morning when terror struck America at the Pentagon, at a Pennsylvania field and at the World Trade Center in lower Manhattan. To my mind, there’s no better way to reflect on this day, and pay tribute to both the victims and the heroes, than by listening to what I deem the real national anthem — Ray Charles’ stirring, soulful version of “America the Beautiful.” This performance was before game two of the 2001 World Series in Phoenix on Oct. 28; the emotion, from both Ray and the crowd, is obvious.

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Posted September 11, 2013 by vp19 in Uncategorized