Posts Tagged ‘Hollywood’

232_Hangover Heaven
Hangover Heaven is the apt name of the unusual bonnet above. Originally developed by makeup man Max Factor for the benefit of actresses who wish to refresh their faces on hot studio sets without spoiling their makeup, the facial ice pack was quickly diverted to another purpose by festive Hollywoodians. The headpiece, adorned with water-filled plastic cubes, is kept in the refrigerator while the water freezes.

Text and image from modernmechanix

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Ruth Harriet Louise (born Ruth Goldstein) (January 13, 1903 – 1940) was an American professional photographer, the first woman photographer active in Hollywood; she ran Metro-Goldwyn-Mayer‘s portrait studio from 1925 to 1930.


When Louise was hired by M.G.M. as chief portrait photographer in the summer of 1925, she was twenty-two years old, and the only woman working as a portrait photographer for the Hollywood studios. In a career that lasted only five years, Louise photographed all the stars, contract players, and many of the hopefuls who passed through the studio’s front gates, including Greta Garbo, Lon Chaney, John Gilbert, Joan Crawford, Marion Davies, and Norma Shearer. It is estimated that she took more than 100,000 photos during her tenure at MGM. Today she is considered an equal with George Hurrell Sr. and other renowned glamour photographers of the era.


Ruth Harriet Louise was born in New York City and reared in New Brunswick, New Jersey. She was the daughter of a rabbi. Retired from MGM in 1930, to marry director Leigh Jason, Louise died in 1940 of complications from childbirth. Her brother was director Mark Sandrich, who directed some of the great Fred Astaire & Ginger Rogers musicals, and she was a cousin of silent-film actress Carmel Myers.


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Norma Jeane Mortensen Baker
(June 1, 1926 – August 5, 1962)
Professionally recognized as
Marilyn Monroe

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Vivacious blue-eyed blonde Penny Edwards was born in New York City in 1928 and displayed signs of musical talent as a youth. She began studying dance by age six and, as a teen, appeared on Broadway in "The Ziegfeld Follies of 1943". After a couple of other musicals and a stint with the St. Louis Municipal Opera, she was signed by Warner 11749162_pe2Brothers in 1947. She showed great perk and promise as a second lead, singing and dancing opposite the likes of Dennis Morgan and Ben Blue in her film debut, My Wild Irish Rose (1947). She continued on winningly in the Shirley Temple vehicle That Hagen Girl (1947); then alongside Morgan again in Two Guys from Texas (1948); with Donald O’Connor and Marjorie Main in the rube musical Feudin’, Fussin’ and A-Fightin’ (1948); and in another musical, Tucson (1949).

After a successful vaudeville tour, Penny was signed by Republic Pictures and started off in a series of "prairie flower" ingénue roles while temporarily replacing a pregnant Dale Evans in a number of Roy Rogers oaters. In 1951, she wed agent Ralph Winters and had two daughters: Deborah Winters (born 1954), who would go on to become an actress in her own right, and Rebecca (born 1956). After a succession of "B" movies, 11749162_pe3Penny left Hollywood to focus on religious work. She later reappeared on the more popular TV shows of the day, including the westerns "Tales of Wells Fargo" (1957), "Wagon Train" (1957) and "Bonanza" (1959), and in light-hearted entertainment alongside Robert Cummings and Red Skelton in their respective shows. Penny’s lovely, ladylike features also made a significant dent in the commercial market, appearing as "The Lux Girl", "The Palmolive Girl" and "The Tiparillo Girl".

Following her divorce in 1958, Penny married Jerry Friedman and they had a son, David. That 1964 union would end up in the divorce courts as well. Penny retired from show biz completely by the mid-1960s and died, in 1998, of lung cancer, just two days after her 70th birthday.

Text from “The Internet Movie Database

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June Knight (January 22, 1913 – June 16, 1987) was an American Broadway and film actress.

11749160_jk2Aged 19, she appeared in the last Ziegfeld Follies show, Hot-Cha! (1932). She would be featured in four other Broadway shows, Take A Chance (1932), Jubilee (1935) (where she introduced the Cole Porter classic "Begin the Beguine"), The Would-Be Gentleman (1946) (her only non-musical) and Sweethearts (1947).

She also had a short-lived film career, appearing in twelve movies from 1930 to 1940, most notably in Broadway Melody of 1936 (1935), in which she sang the hit song "I’ve Got a Feelin’ You’re Foolin’" with co-star Robert Taylor.

She died in 1987, at 74, from complications from a stroke, and was interred in Pierce Brothers Valhalla Memorial Park.

For her contribution to the motion picture industry, June Knight has a star on the Hollywood Walk of Fame at 6247 Hollywood Boulevard.

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A recreation of an article by Roger Turrell in Adam Vol 4 No 4 1960



WENDY MARCH regard­ed her interviewer solemnly through smoky, grey-blue eyes and said, "As a matter of fact, I think my back­ side is a lot more photogenic than my front. Which is a hell of a note for a girl who wants to be a serious dramatic actress, if you ask me!"

No one had asked her this some­ what startling bit of information was wholly volunteered – but a quick, if intensive study of what sat facing you across the table resulted in firm conviction that there was nothing especially wrong with what was up front either. In fact, it very definitely counted."What I mean," said Wendy, "is that my thirty-five chest is hardly big league against what most of the girls who do pinups put on display. On the other hand, my backside is – well, real curvy.


She could say that again as far as you were concerned. But you let her keep it parked on a wood-and-can­vas chair on the terrace of a super­ espresso joint on Hollywood’s Sun­ set Strip called Cyrano’s. Instead, you study the pale, serious little face that looks back at you. It’s pretty, a little on the girlish side, reminiscent of Jane Powell or the Joan Blondell of some seasons back. The blue-grey eyes are wide and well lashed, the nose pert and a trifle flattened across the bridge, the mouth fluid and expressive.

All in all, it’s rather a sad little face, clothed in what is probably the creamiest white complexion in Hol­lywood or anywhere else – so waif­ish that you wonder if it wasn’t born for comedy. After all, Mabel Norman, the first great comedienne of the silent films, had that same quality of sadness underlying her vivacity. As did Chaplin and Kea­ ton and the rest."No comedy," says Wendy firmly, raising a forkful of green salad to emphasize the point like a flag of Erin. "My goal is to be a fine dra­matic actress. My hero – or rather, heroine – is Bette Davis. That’s the kind of an actress I intend to be."


Big words, bravely spoken by a little girl just 21, who graduated from the University of Southern Illinois only last June. But there is a dedicated ferocity in her speech about such matters that indicates the hot fires of ambition ablaze in her delicate 114-pound little body. She means business."Look," she says, "I’ve only been out here four months, and in that time I’ve picked up one screen credit for ‘The Private Lives of Adam and Eve’ at Universal-International, and a TV credit in ‘Lawman’ at Warners."

Who’s Wendy’s agent? "I don’t have one yet," she replies. ‘So far, I’ve got what I’ve gotten by batting my head against every producer’s wall I could find. I want to pick up a few more credits on my own be­ fore I go after an agent. Then may­ be I’ll rate some attention from a good one, instead of just being a no­ body."It makes sense. You let her tell you about herself, of how she was born in Youngstown, Ohio, where her father was superintending a steel company construction job, work that led him and his little family to Texas for 10 years and other­ wise just about all over the map.


"When I was three days old," she says, "I cracked the medical history books. I was the first girl baby on record to get pyloric stenosis. That’s a closing of the passage be­ tween the stomach and intestines. I would have died of malnutrition if they hadn’t fixed it up." Other moppet achievements in­clude Wendy’s climbing into a toilet seat to brush her teeth – she wasn’t tall enough to reach the basin – and falling into a Texas cesspool while trailing an 11-year-old boy across a back lot.

For this, her revenge was as spec­tacular as it was messy. "I waited till I knew he was taking a bath, then crashed the bathroom and poured a whole box of bath-powder over him. He was a worse mess when he got out than I was when I climbed out of that cesspool­ even if he smelled sweeter." Didn’t we mention that Wendy is a determined wench? She comes by it naturally enough, being a direct descendant of Henry Wadsworth Longfellow, the poet, on her, moth­er’s side, and of Declaration of Independence Signer John Hancock of her father’s. Neither of these famed New Englanders was noted for being exactly wishy-washy.


Wendy began taking dancing les­sons – tap, toe and ballet – at the tender age of seven, under the parental impetus of her mother. "No, mother has no frustrated theatrical ambitions of her own," the girl says. "She just wanted me to take danc­ing lessons the way a father wants to teach his son athletics. I’m still dancing. I don’t suppose I’ll stop un­til I’m seventy." At the age of eight, she was pro­ficient enough to take part in school recitals, and disaster struck out in front of everybody when one of her dancing shoes fell off. But Wendy, even at that age, was far from fazed. "Our teacher had kept telling us, ‘No matter what-keep going!’ So I simply kept going and wished I were dancing on the side of a hill instead of a level stage."

img_010Another momentous misoccasion was Wendy’s graduation from gram­ mar school. On this occasion, wear­ing a long, solemn white dress for the occasion, she managed to fall upstairs when summoned to the platform to receive her certificate. In general, however, she is much, much too intelligent to get into. the sort of jams that make for exciting copy. Her IQ. is up around the genius level, although she scoffed at such indices of high intelligence. "I was just lucky enough to get good schooling," she demurs.

Wendy has been deeply in love twice. "But," she says, "each time marriage loomed in the offing, I got cold feet and pulled out. I can’t see sacrificing the career I’m after for a washing machine and a mess of diapers." As for men – "I adore them! But only if they’re men! I think you know what I mean. No female im­personators in my life if I can help .

Wendy also adores dogs and has had two cocker spaniels, both of them named "Jigger". She reads a good bit, mostly psychology and scientific studies of hypnotism at present. She is a fine ballroom as well as a performing dancer, and has even taught it to earn extra pin­ money at college. She keeps a diary and has a novel in writing ("It’s about me, and I haven’t got an end­ing yet."), also collects stuffed ani­mals and carved ivory elephants­ bull elephants please take note. But acting is Wendy’s main line. "I’m like an alcoholic," she con­fesses. "I only come alive when I’m giving a performance."

Oddly, she did little acting in col­lege theatricals, preferring to work backstage and, in her own words, "really learn the business from the ground up." Outside of that, Wendy had done just little theater work be­ fore coming to Hollywood. So how did she happen to take the plunge? "Well, I was with Dad in New York last Christmas – he and mother are divorced, though I adore both of them – and he asked me if I’d like a mink stole for my stock­ing. All of a sudden – just like that! I knew I didn’t want a mink stole half as much as I wanted to come out here. So I told Dad I wanted a ticket to Hollywood instead." "He laughed and said, "Okay, honey, I’ll get you a round-trip ticket.’ "I told him, ‘Make it one-way.I’m not coming back.’ "

So, in due course, Wendy arrived in Hollywood with her mother and took a small apartment in Holly­wood and began making the rounds of the casting directors. So far, she’s been doing okay for a cold-nosed beginner, and she should be doing a whole lot better soon. This girl has the sort of determination that just can’t be stopped for long, and she is cute as the proverbial gnat’s ear and smart as the equally proverbial whippet to boot. It’s a safe bet she won’t be regret­ ting that no-return-trip ticket for a long, long time, if ever.

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11749149_me1Marla English (born January 4, 1934 in San Diego, California) is a motion picture actress from San Diego, California who made movies in the 1950s.

English was originally signed to a contract by Paramount Pictures after winning a San Diego beauty pageant. She was paid $100 per picture to appear in such films as Red Garters (1954) and Rear Window (1954).

She received a major break when she was cast opposite Spencer Tracy in The Mountain, a film which was to be made in France. Marla was given a smallpox vaccine before leaving to go on location. She quickly developed a raging fever and decided to pull out of making the movie. Paramount suspended English and signed actress, Barbara Darrow, to make the film.

Parade Magazine questioned English about her decision in September 1955. She said it was a very dumb move and was unsure why she decided against making The Mountain. A close relative told the publication that English had fallen in love with Paramount actor Larry Pennell. She became enraged when the studio would not give Pennell a role in the film, so they could travel to France together.


English made mostly B-movie films throughout her career in Hollywood. Some of these include Three Bad Sisters (1956), Runaway Daughters (1956), The She Creature (1956), Flesh and the Spur (1957), and Voodoo Woman (1957). In 1955 she played with John Ireland and Pennell in Hell’s Horizon.


She gave up her acting career in 1956 when she became engaged to San Diego businessman A. Paul Sutherland. English was just 21 at the time.

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