Being diplomatic is one way to get what you want. And then there's Bardot's way.
This is one of the most classic of Brigitte Bardot's movie posters, with the smiling superstar holding an Eiffel Tower in her hands, implying that all France is her plaything. That much is undeniable. It was originally titled Une parisenne, but for its English language release it was given the slightly different title La Parisienne, and in it Bardot does what Bardot always does—stops traffic, generates previously undiscovered quantum states of chaos, and flips reality upside down. This time around she plays Brigitte Laurier, the prime minister's stubborn daughter, in love her father's assistant, who tries as hard as he can not to get involved with her. Why would he resist Bardot? Because she's too young, and he already has a (married) girlfriend. He finally marries Bardot through a set of crazy circumstances, but refuses to give up his mistress, which of course leads to a jealous Brigitte taking matters into her own hands. This is a classic French style sex comedy, with confusion, mistaken assumptions, and people sneaking into each other's beds, all in service of teaching the lesson that what's good for the goose is good for the gander.
Focusing on the poster for a moment, you can see it's a high quality piece of art, but it's attributed to nobody. We checked around and came up with zip. You'll notice it says La Parisienne was Bardot's first big picture. We doubt that—it was her eighteenth movie. We can find no evidence anywhere that this one was different budgetwise than her other headlining efforts. Possibly, “big” is a reference to the plot's focus on international politics and diplomacy. The film does seem to have a larger scope, and take place against a larger backdrop than usual. So maybe that's it. Or maybe the American distributors meant that it was the first of Bardot's films to receive a big promotional push in the U.S. We just don't know. But here's what we're sure about: after a successful run in Europe beginning in late 1957, La Parisienne premiered in New York City today in 1958.
The dancers of the chorus line request your attention.
This is the fifth issue of Cancans de Paris we've shared. The magazine is fast becoming a favorite. It has that mix we like—celebs, showgirls, and cartoons. It's similar to magazines such as Paris Hollywood and Gondel, but with a simpler layout and all black-and-white photography. This issue is from July 1966 and features Gila Golan on the cover, and inside are Julie London, Mireille Darc, and others from the acting profession. You also get Sally Ann Scoth, Karin Brault, Juanita Sanchez, and other colleagues from the dancer side of show business. The entire issue appears below in thirty panels, and you can see the other issues by clicking the appropriate keywords at bottom.
Lady Luck shines on Roques book front.
Above is a beautiful cover for La Chance aime le jolies filles, published in 1955 with art by an unidentified genius. The work looks like Jef de Wulf to us, but we won't swear to it because we've guessed wrong before. French book titles can be a bit arcane but not this time—it translates as “luck loves beautiful girls.” Roques was an interesting character. He was both author and publisher of this and other books, running his company out of Boulevard Beaumarchais in Paris. He continually pushed the boundaries of what censors considered acceptable, for twenty years skirting but managing to avoid serious trouble, though books like 1955's Viol and 1957's Dit oui, madame were banned. Roques did not skimp on cover art. Every edition we've seen from his company is beautiful. In fact, one of our favorite fronts ever came from Roques. See that here, and expect more in the future.
She was one Man's ray of light.
This is a fantastic shot. One reason it caught our eye is that we've seen other photos with lacy shadows substituting for lingerie, but this one from 1930 may be the originator of the illusion. The person you see is Lee Miller. She was born in 1907 and became a fashion model in New York City during the late 1920s, before traveling to Paris with the intent of meeting the legendary photographer Man Ray. She succeeded and became his muse, lover, and frequent subject, as evidenced by this photo, which is his work.
Miller was widely acknowledged as one of the great beauties of her era, but modeling was not her career goal. Her plan had always been to become a photographer. Thus in addition to the other facets of her relationship with Ray, she also apprenticed for him. After absorbing what he had to share she eventually went on to shoot acclaimed World War II photos, some of them during perilous live combat, and documented the liberation of the Buchenwald and Dachau concentration camps, helping expose Nazi atrocities to the world.
In mid-1945 she was in Munich shooting images of the immediate aftermath of the war and posed for a nude shot in Adolf Hitler's bathtub. Yeah—Hitler. Her son, Antony Penrose, later said of the shot, “I think she was sticking two fingers up at Hitler. On the floor are her boots, covered with the filth of Dachau, which she has trodden all over Hitler’s bathroom floor. She is saying she is the victor.”
The photo was of course controversial, but Miller was a pure artist, always willing to make observers see the world in a new way—through her trained eye. So while the shot at top could be seen as reductive of a complex and accomplished personality, it actually reveals an important aspect of who she was—a daring, multi-faceted woman to whom convention was merely a challenge. And it's an overwhelmingly beautiful shot besides.
Pulp and art deco. Two great tastes that rarely went together.
The pulp era is generally agreed as having commenced the last several years of the 19th century and having ended during the 1950s. Art deco is agreed to have begun around 1900 and ended around the beginning of World War II. Despite co-existing, they occupied the same place surprisingly little. You would see crossover in cinematic adaptations of pulp material such as Flash Gordon, with its deco styled spaceships and costumes. Some pulp magazines had art deco influenced fonts, and some hardbacks had art deco sleeve art, such as those designed by Edna Reindel for W.R. Burnett's novels Iron Man and Saint Johnson. But when popular paperbacks and magazines began to focus on high quality cover art they developed their own visual style which we think of today as good girl art, or GGA.
But even if pulp and art deco didn't mix much back then, they mix here. Today we have an issue of Paris Plaisirs published in 1929 with drawings, paintings, studio photography, French wit and more. The cover photo-illustration was shot by Lucien Waléry, also known as Stanisław Julian Ignacy Ostroróg. Though his name was Polish he was a British citizen, born in London after his father Stanisław Julian Ostroróg—also a famed photographer—emigrated there in 1856 and became a citizen in 1862. The younger Ostroróg took the pseudonym Waléry and thus forever created confusion with earlier photographers who had used the same name. We won't bother unwinding all those Walérys. You can see another of our Waléry's beautiful art deco covers here, and we have other issues of Paris Plaisirs you can see by clicking the keywords at bottom.
Calvet proves red warms up any room.
Corinne Calvet, née Corinne Dibos, was born in Paris and tried a few different careers before migrating to Hollywood. She studied criminal law at the Sorbonne, then became an interior designer, where we assume all she did was walk into a room to redecorate it. When she made the move to Hollywood in 1940 she generally played French characters, appearing in On the Riviera, Rope of Sand, The Far Country and numerous other films. This is really a stunning shot of an especially beautiful star but we aren't positive of the date. Best guess—1950.
Say hello to my little agent.
This film noir style Universal Pictures promo image shows Paris born Andrea King, whose given name was Georgette André Barry, but who lived only briefly in France before her mother brought her to the U.S. We just saw her in Mr. Peabody and the Mermaid, but we really remember her best for her role in a great but obscure film noir called Ride the Pink Horse. She also appeared in Shadow of a Woman, Dial 1119, Southside 1-1000, and—we love this last one—Blackenstein. The above shot showing her in take charge mode is from 1949.
Phantom actress puts men in their place.
We're back to National Spotlite with a cover published today in 1968. The photo is of actress Carolyn Haynes, and a headline goes to actress Caroline Lee, who says she makes men crawl for her sexual favors. The money quote: “If women use their bodies the right way they can be the most powerful people on Earth.” A quote like that sounds suspiciously like it was fabricated by a man, and in fact while several Caroline Lees appear on IMDB, none fit the profile required to have done this interview—i.e. born sometime in the 1940s or possibly in 1950. National Spotlite is busted again. The editors simply could never have imagined a globally accessible actor database. We also did a search on Haynes and likewise learned she never existed
But some of the celebs are real. In Spotlite's “Dateline: The World” feature readers are treated to a photo of Chris Noel. It's been a long time since we've seen her—eight years to be exact. Spotlite tells us she smashed a vase over the head of a nightclub employee when he tried to force his way into her dressing room in Sydney one night. “The man attempted to romance her but she spurned every overture he made. When he tried to use violence to get his way she spilt open his skull.” We found no mention of the incident in any other source, but we like the story for how it turns out. If her assailant had known anything at all about Chris Noel he'd have rememberd her publicity tours of Vietnam and realized she was one tough celeb.
“Dateline: The World” next regales readers with a tale out of Africa. "Cary Grant arrived in Nairobi to join a hunting safari and has been escorting two six-foot dark-skinned native girls to whatever cafes in town they can get into, and has caused quite a bit of controversy by doing so. Grant traded punches with a man in one spot when the gent took offense at Cary's dates. Cary flattened the man, but the stranger rose to his feet flashing a knife and only the quick efforts of the bartender and cafe owner averted further trouble for the star. Cary and the girls fled while the others were subduing the knife wielder."
Paris: "Juliette Prowse was detained the other night after she threw a make-up case through the window of a drug store. She had purchased some cosmetics at the American Drug on the Champs-Élysées, but brought the order back the same night. She claimed that she'd made a mistake and didn't need the cosmetics. The salesman explained that he would exchange the merchandise or give Prowse credit, but no cash refund. Juliette roared out of the place. Outside she hurled her make-up case through the store's front window. Two policemen saw her smash the window and nabbed her on the spot."
Beirut: "David Niven and wife Hjordis ran into an embarrassing situation in a night spot while making the cafe rounds in this Lebanese city. A belly dancer took such a fancy to David that she did her act for him alone. She even sat on his lap. The patrons objected to her performing for just one man and began to throw things at her and at Niven. David and Hjordis ran for the exits after he pushed the girl off his lap."
Capri: "Noel Coward is nursing bruises on his face. He says he was attacked by two young men while he was out strolling one night. The muggers made off with a pair of cuff links given to him by Raquel Welch and a watch from Greta Garbo. Coward was found half-conscious and bleeding."
You get the gist—celebs in trouble. Back during the heyday of tabloids Confidential had bellhops, bartenders, chauffeurs, maîtres d'hôtel, and cops by the hundreds phoning in hot tips, but Spotlite was never more than a second tier rag and could not have had the resources to uncover the above stories. Therefore the editors either made them up or lifted them from other tabloids. We suspect the latter—with the stories ginned up for entertainment value. Cary Grant in Nairobi with two Kenyan escorts? We'll buy it. Grant risking his million dollar mug in a fistfight? Improbable. But the stories sure are fun. See more from National Spotlite by clicking here.
The headlines that mattered yesteryear.
1910—Duke of York's Cinema Opens
The Duke of York's Cinema opens in Brighton, England, on the site of an old brewery. It is still operating today, mainly as a venue for art films, and is the oldest continually operating cinema in Britain.
1975—Gerald Ford Assassination Attempt
Sara Jane Moore, an FBI informant who had been evaluated and deemed harmless by the U.S. Secret Service, tries to assassinate U.S. President Gerald Ford. Moore fires one shot at Ford that misses, then is wrestled to the ground by a bystander named Oliver Sipple.
1937—The Hobbit is Published
J. R. R. Tolkien publishes his seminal fantasy novel The Hobbit, aka The Hobbit: There and Back Again. Marketed as a children's book, it is a hit with adults as well, and sells millions of copies, is translated into multiple languages, and spawns the sequel trilogy The Lord of Rings.
1946—Cannes Launches Film Festival
The first Cannes Film Festival is held in 1946, in the old Casino of Cannes, financed by the French Foreign Affairs Ministry and the City of Cannes.
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