Geez. They're all about me again.
Philippe Halsman shot this sly commentary on fame featuring one of the most famous women in America, Marilyn Monroe, as his subject. She checks out a newspaper, and next to her you can see machines for the afternoon tabloids Mirror, Daily News, and Herald-Express, the latter of which is a publication we've mined often for historical crime photos. In that issue the front page says, “Fight Grows to Keep Chaplin Out of U.S.,” a headline that dates the photo to sometime in late 1952. Why was there a fight? People had been led to believe Chaplin was a communist theat to America for saying things like he wanted every person to have a roof over their heads. He wouldn't return to the U.S. for twenty years. So, the tabloids weren't all about Marilyn every issue. Just mostly. Even gossips need a little variety.
They're not really going anywhere but they look mighty good doing it.
What's a period drama without a fake driving scene? Nearly all such sequences were shot in movie studios using two techniques—rear projection, which was standard for daytime driving, and both rear projection and lighting effects for simulating night driving. Many movie studios made production images of those scenes. For example, above you see Jane Greer and Lizabeth Scott, neither looking happy, going for a fake spin around Los Angeles in 1951's The Company She Keeps. We decided to make a collection of similar shots, so below we have more than twenty other examples (plus a couple of high quality screen grabs) with top stars such as Humphrey Bogart, Ingrid Bergman, Barbara Stanwyck, Robert Mitchum, and Raquel Welch. We've only scratched the surface of this theme, which means you can probably expect a second collection somewhere down the road. Incidentally, if you want to see Bogart at his coolest behind the wheel look here, and just because it's such a wonderful shot, look here for Elke Sommer as a passenger. Enjoy today's rides. Humphrey Bogart tries to fake drive with Ida Lupino in his ear in 1941's High Sierra. Dorothy Malone, Rock Hudson, and a rear projection of Long Beach, in 1956's Written on the Wind. Ann-Margret and John Forsythe in Kitten with a Whip. We think they were parked at this point, but that's fine. Two shots from 1946's The Postman Always Rings Twice with John Garfield and Lana Turner, followed by of shot of them with soon-to-be murdered Cecil Kellaway.
Shelley Winters, looking quite lovely here, fawns over dapper William Powell during a night drive in 1949's Take One False Step. William Talman, James Flavin, and Adele Jergens share a tense ride in 1950's Armored Car Robbery. William Bendix rages in 1949's The Big Steal. Frank Sinatra drives contemplatively in Young at Heart, from 1954. George Sanders drives Ingrid Bergman through Italy, and she returns the favor, in 1954's Viaggio in Italia. Harold Huber, Lyle Talbot, Barbara Stanwyck and her little dog too, from 1933's Ladies They Talk About. Virginia Huston tells Robert Mitchum his profile should be cast in bronze in 1947's Out of the Past. Peggy Cummins and John Dall suddenly realize they're wearing each other's glasses in 1950's Gun Crazy, a film that famously featured a real driving sequence, though not the one above. John Ireland and Mercedes McCambridge in 1951's The Scarf. James Mason drives an unconscious Henry O'Neill in 1949's The Reckless Moment. Hopefully they're headed to an emergency room. Marcello Mastroianni driving Walter Santesso, Mary Janes, and an unknown in 1960's La dolce vita. Tony Curtis thrills Piper Laurie with his convertible in 1954's Johnny Dark. Janet Leigh drives distracted by worries, with no idea she should be thinking less about traffic and cops than cross-dressing psychos in 1960's Psycho. We're not sure who the passengers are in this one (the shot is from 1960's On the Double, and deals with Danny Kaye impersonating Wilfrid Hyde-White) but the driver is Diana Dors. Kirk Douglas scares the bejesus out of Raquel Welch in 1962's Two Weeks in Another Town. We're familiar with her reaction, which is why we're glad the Pulp Intl. girlfriends don't need to drive here in Europe.
Robert Mitchum again, this time in the passenger seat, with Jane Greer driving (and William Bendix tailing them—already seen in panel ten), in 1949's The Big Steal. The film is notable for its many real driving scenes.
James Mason keeps cool as Jack Elam threatens him as Märta Torén watches from the passenger seat in 1950's One Way Street. And finally, to take a new perspective on the subject, here's Bogart and Lizabeth Scott in 1947's Dead Reckoning.
Have her cake and eat her too.
This photo shows French actor Charles Boyer at Ann Blyth's nineteenth birthday party today in 1947, looking hungry for more than just cake. Or maybe that's just our silly imaginations. Such a May-December pairing wouldn't have been terribly strange back then (though some consider it a capital offense today), however the two are not known to have been involved. The reason they were acquainted is because they were filming the Universal drama A Woman's Vengeance, which would hit cinemas the next January.
Blyth is still around, celebrating her ninety-fourth birthday today. Boyer died in 1978. That means Blyth has lived more than forty years beyond the day Boyer passed away. That's the joy and pain of long life, seeing so much but losing friends decades early, and it's made even more poignant due to the fact that for celebrities it happens in the public eye. But even at ninety-four a birthday may bring a little happiness. The lucky ones amongst us will find out firsthand if that's true. See some fun shots of Blyth here and here.
Inside Story goes where other tabloids tread—then claims not to have gone there.
It's been a few years since we posted an issue of Inside Story, but we don't run out of tabloids, we just run out of time to scan them. Today, though, there's time aplenty, so above you see an issue that appeared this month in 1963 with a cover touting a feature on the new generation of young actresses in Hollywood taking over from Brigitte Bardot, Kim Novak, and Marilyn Monroe. At the time, Bardot was twenty-nine and Novak was thirty-five. Those aren't exactly geriatric years for actresses, even back then, but Inside Story said there was a young new guard: Angie Dickinson, Ann-Margret, Jane Fonda, Connie Stevens, Tuesday Weld, and Julie Newmar. Dickinson was actually older than both Bardot and Novak, but we get the general point.
Later in the issue there's a story dedicated to Monroe that describes her fans as a death cult. The interesting aspect of this is that the author Kevin Flaherty accuses people of obsessing over Monroe—while himself obsessing over Monroe. The gist of his article is that a cottage industry of films, books, and magazine articles were cashing in on her suicide, which had occurred the previous August. This was, of course, shaky ground for any tabloid to tread upon, as they all made their profits via unauthorized articles about various celebrities, which one could define as exploitative by nature. But never let the facts get in the way of a good story angle.
Flaherty tells readers that Monroe's life was marred by abandonment, depression, and rape, and suggests that if she had been given a little peace by constantly clamoring fans and intrusive reporters she might not have taken that fatal dose of pills. We think it's just as valid to conclude that without stardom she wouldn't have lasted as long as she did. Since she isn't around anymore to speak for herself (she'd be ninety-six this year), we choose to view her on the terms she chose. She started as a model and worked hard to become an actress, and we think those achievements are far more important than what she had no control over. But there will always be debate over Monroe's legacy, and Inside Story shows that the discussion was already in full swing. Twenty-plus scans below.
People try to put them down.
This photo was made to promote the 1959 drama The Beat Generation, and shows co-stars Steve Cochran and Fay Spain. The movie also starred the never-to-be-overlooked Mamie Van Doren. While you would think the movie deals with disaffected youth—and in some ways it does—it's largely about middle-aged detective Cochran trying to capture a serial rapist. We watched it five years ago. You can find out what we thought here.
Don't fool around on Donna Mae.
We're back in Los Angeles County divorce court, a place that got so much celebrity usage during the mid-century period it probably could have benefitted from a VIP section. Above you see famed burlesque dancer and model Donna Mae Brown, aka Busty Brown, attending a spousal support hearing today in 1960. Brown performed throughout the U.S. but was based in L.A., headlining at the New Follies, Strip City, and other popular nightspots. Busty wasn't her only alias. The era was all about unwieldy nicknames meant to generate free publicity, therefore she was also known for a while as “Miss Shape of Things To Come,” and “Miss Anatomy.”
In this case, what was to come was monthly support. She was seeking funds from her second ex-husband Maynard Sloate, a high powered agent whose clients included Count Basie, Ella Fitzgerald, Sarah Vaughn, and Dinah Washington, and who later went into club ownership—including the aforementioned Strip City—through which he trafficked such stars as Anita O’Day and Redd Foxx. At the end of the day Brown, who had initiated divorce proceedings due to Sloate's various infidelities, won fifty dollars monthly, and twenty percent of her ex's gross earnings as support for herself and her children.
The notably slender Brown, who's a brunette above and below, but earned her fame as a platinum blonde, was one of the bolder models of her era, going topless in magazines, baring all for nudie film loops, and getting truly revealing for underground photo club shoots. The latter practice even got her arrested in 1953. The trio of poolside shots below give you a sense of how far she was willing to go, but they're not among her most explicit photos, because there's only so far we're willing to go. If you poke around online you might find those images. She's also fifth in a collection of photos we uploaded a few years ago. I'll admit there are a couple of aspects of marriage to Donna that I'll really miss.
He's a complicated man—nobody understands him but his mechanic.
This is about as chill as you can get. The above shot, which has been floating around online for a while now, was first published in Custom Bike-Chopper, aka Custom Chopper, in 1976, and shows the legendary Isaac Hayes astride his turbocharged Kawasaki chopper on a sunny Southern California day. With the sandals and socks, it's like he never left his sofa. His bike has one-of-a-kind handlebars, a filigreed gearbox, a gold-plated roller chain, and more. It's extravagant, but the guy wrote the massive hit song, “Theme from Shaft.” He had to do something with all that royalty money. As the lyrics explain, nobody understands him but his woman—who we assume built his bike.
We've talked about Hayes before. He starred in a number of films, but of the ones we've seen so far, the most interesting is the 1974 blaxploitation flick Truck Turner. We talked about it at length a while back, and long story short, it's terrible but amusing. He also appeared in the fun John Carpenter b-movie Escape from New York in 1981, and was a running character on the animated show South Park. We'll get back to Escape from New York later, probably. In the meantime, you can see U.S. and Italian Truck Turner posters here and here, read our thoughts about the film at the first of those links, and check out a promo image of Hayes in considerably less relaxed mode here.
Ann-Margret's reputation was a problem. But her reputation for what?
This should spice up your Friday. Above you see Swedish bombshell Ann-Margret on the cover of a National Enquirer published today in 1962. The editors wanted to match Ann's face with the, “I'm worried,” header, and used a promo shot of her dancing. Wild facial expressions were a specialty of hers. Winks, grins, grimaces, and more were her stock in trade, deftly demonstrated in the shot below. But regarding the above image, we don't think she looks particularly worried. Pained, possibly. Worried, no. We didn't buy this item, so we can't tell you for sure what she's supposed to be worried about, but considering the year, the article probably discusses her trying to make the transition from singer/dancer to serious actress. It was something she talked about in interviews. In the end she managed it easily. On the other hand, maybe Enquirer is hinting at something else entirely. Either way, the photo is rare.
Early movie magazine celebrates a pantheon of Hollywood stars long gone.
Above and below are the cover and a selection of pages from an issue of Pantomime magazine published exactly one hundred years ago, today in 1922, by New York City based Movie Topics, Inc. We don't share much printed material from the pre-1940 pulp years because it tends to be rare to find, a bit expensive to buy, and not as visually dynamic as what came afterward. Luckily, there's a selection of items like these on Archive.org, and that's where this particular discovery originated, part of a collection of eighteen issues available for free download.
There isn't much information available on Pantomime. The rise of Hollywood fueled a huge satellite industry of movie and celeb mags, and scores of them were short-lived. It's possible this one was in existence only during 1921-22, during the silent era. It's filled with celebrities whose names have faded from popular culture, such as cover star Mae Murray, who was known as “The Girl with the Bee-Stung Lips,” Betty Compson, who we've shown you before, Bebe Daniels, who starred in the first version of The Maltese Falcon, action megastar William Duncan, who appeared in one-hundred fifty movies and short features, and Bryant Washburn, who topped Duncan, accumulating well over three-hundred screen credits.
As you might imagine of a publication from 1922, there's problematic material, in this case an article purportedly written by Pantomime's office boy, Eustace Yodels, but in reality written by the editors in what they imagined was African American vernacular, filled with racist phonetics. Apparently the piece is part of a series, an assumption we make because the subhead says it's “another” discourse by Yodels. We've uploaded a snippet below, but if you ever need to do research on racist tropes in old magazines, pull this one off Archive.org and read the whole shameful thing for yourself.
Pantomime also published fiction—official, aknowledged fiction, unlike the above. This issue has Sign of the Trident, which is two chapters of Herbert Crooker's novelization of the Ruth Roland cinema serial White Eagle. For any visitors unfamiliar with the concept, serials were films shown one chapter per week in cinemas. They came on before the main features, and each chapter ended with a so-called cliffhanger. Pantomime was a weekly, so each week it published a fictionalization of what was showing in the movie house. All that for a cover price of ten cents. Inflation-wise that would be about $1.67 today. Not a bad value. |
The headlines that mattered yesteryear.
1966—LSD Declared Illegal in U.S.
LSD, which was originally synthesized by a Swiss doctor and was later secretly used by the CIA on military personnel, prostitutes, the mentally ill, and members of the general public in a project code named MKULTRA, is designated a controlled substance in the United States.
1945—Hollywood Black Friday
A six month strike by Hollywood set decorators becomes a riot at the gates of Warner Brothers Studios when strikers and replacement workers clash. The event helps bring about the passage of the Taft-Hartley Act, which, among other things, prohibits unions from contributing to political campaigns and requires union leaders to affirm they are not supporters of the Communist Party.
1957—Sputnik Circles Earth
The Soviet Union launches the satellite Sputnik I, which becomes the first artificial object to orbit the Earth. It orbits for two months and provides valuable information about the density of the upper atmosphere. It also panics the United States into a space race that eventually culminates in the U.S. moon landing.
1970—Janis Joplin Overdoses
American blues singer Janis Joplin is found dead on the floor of her motel room in Los Angeles. The cause of death is determined to be an overdose of heroin, possibly combined with the effects of alcohol.
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