SueSueApplegate
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Posts posted by SueSueApplegate
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Kyle, that sounds like a great idea for watching the Peter O'Toole interview. Maybe in Club TCM? Or if something else hasn't been set up in the lobby, there might be a large screen set up in the lobby.
Sounds like more fun!
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Dear Mongo,
I've just been reading Fred Astaire's autobiography with the foreword written by Ginger Rogers, and I was so tickled to see that great image of Fred with all his dancing shoes.
Adorable! (Just like you!)
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My dear friend, Bill, who works with me at a local community college, is quite the raconteur. He counts among his many brushes with greatness such luminaries as Jacqueline Kennedy, Garrison Keillor, and many Baseball Hall of Famers. But I managed to wheedle and whirl such a travelogue of Hollywood lore from his vast internal landscape that some of it cannot be recounted due to the licentiousness of its nature....
But during the summer of 1954, young Bill, who was sixteen going on seventeen ( and don't cue Rodgers & Hammerstein yet, please), found himself lured to Glacier National Park in Montana by Minnesota friend and entrepreneur Hugh Black to work at St. Mary Lodge and Resort, built by Black and his burgeoning consortium around 1937 just outside the entrance to Glacier National Park shortly after Black discovered he was not being employed by the National Park Service any longer.
The original section of the lodge before remodeling is the whole block to the right of the center supports in the pictured structure of the current St. Mary Lodge, in St. Mary, Montana.
As Bill shortly discovered during that summer, a film company from Hollywood (RKO) had just arrived to begin work on *Cattle Queen of Montana*. Barbara Stanwyck and Ronald Reagan were the stars of the film, and they were housed in St. Mary's Lodge, the building which also included the restaurant for most the film's principals and the director, Allan Dwan, immortalized in Peter Bogdanovich's *Who The Devil Made It*, and responsible for bringing such classics to the screen as *Rebecca of Sunnybrook Farm* (1938), *The Three Musketeers* (1939), *Sands of Iwo Jima* (1949), and *Robin Hood* with Douglas Fairbanks (1922).
Extras, crew, and other actors, like Jack Elam, were housed in several motel units, and would venture forth for meals to the restaurant located in the main lodge. During that summer, Bill had several responsibilities and did all kinds of jobs all over the property, and fondly remembers trips on the old "gear-strippers" as the young staff members called them.
According to the Glacier Park, Inc. Website, "the White Motor Company between 1936 and 1939 built Glacier’s red-with-black trim vehicles. This fleet of Red Buses is considered the oldest intact fleet of passenger carrying vehicles anywhere. These 17 passenger convertible touring sedans are more than a mere means of transportation for locals and visitors - they are cherished, elegant icons of Glacier National Park."
Bill also fondly remembers Ronald Reagan, and how he was always " out and about," because if Reagan wasn't riding a horse all around the beautiful property or in the park, he would walk and take in the scenery, always chatting gregariously with the crew and resort staff, and loved to be out of doors. Bill broke into a wide grin when he remembered Ronald Reagan. "He didn't like to be riding around in the company cars because he would rather be riding the range on a horse or going for a hike, and he was very comfortable in the saddle, unlike some of the other film actors who frequented the resort," Bill stated.
More later in Part II of "My Friend, Bill."
Here's a link to the video about the red bus tours:
Here's a link to information about St. Mary Lodge and Resort:
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Dearest Kyle! Thank you so much for the delightful Walter Plunkett drawing of Barbara Stanwyck as Annie Oakley!
You are a treasure. Can't wait to see you again at the stylish Hollywood Roosevelt this April for TCM Film Fest 2012...
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A stylish cowgirl...
Looks like Barbara is telling him what to do with his pistols…
Poster for the film…
Just had a wonderful conversation with one of my colleagues after I had discovered he had been an extra on the set of *Cattle Queen of Montana* with Barbara Stanwyck and Ronald Reagan, so the highlights of this chat will be included in the next post, and I'll have to interrupt my fashion passion....
Sue Sue Applegate
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Thanks for the kudos, Cinemaven.
Just couldn't resist more chapeau show, folks...
Listen, sister....
A bit of fluff...
Lionized..
I don't think I can fit that clamshell in my purse...maybe it'll fit in my hat!
Is that a loose snood with William Powell?
Hood ornament...
Cherries Jubilee...
More Mame...Boxed Like Proust.
Talk about Buttons and Bows....
The Sophisticate with gloves edged in eyelet lace, embroidery and sequins...
This is the hall of famer.....One of my favorite Rosalind Russell hat pics...
And the all time attention-grabber.....
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Travis Banton not only worked on Rosalind Russell's costumes on Broadway, but he also helped decorate the iconic star in Sister Kenny(1946), Mourning Becomes Electra (1947), The Velvet Touch (1948) and a couple others. But I think that his designs for Russell's stage version of Mame are lovely...
And could that gal wear a hat like nobody else...
I think I'll predict more hats on the runway to the Vanity Fair party this year....
From 1939's The Women...
Hats Off to Roz!
Ooops! How did this Glamzilla shot sneak in with my chapeau show?
Next Up:
That statement-shaking Kalloch design from His Girl Friday
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Travis Banton designed costumes for Rosalind Russell in the Broadway version of *Auntie Mame* which had over nine hundred performances in the 1950s, prior to the development of the movie version.
Broadway Mame Game....
That lovely Chinese Hostest with the Mostest from Act I
Yikes! Mame caught red-handed with Mr. O'Banion...Is that dear Agnes Gooch (Peggy Cass)at the door?
You know it takes her practically no time at all to knock off a Dr.Peppuh....
The lovely Final Act Sari..."Vistas you've never dreamed existed...."
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Sansfin, this was such an interesting post. Thank you for sharing these personal insights.
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Just wanted to wish you all a Happy New Year!
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*SueSue, those Lucille Ball pictures are great!* --kingrat
Thank you so much, King! I added a few more, thanks to your hearty enthusiasm! Can't wait to see you in 2012!
An early bloom....
Contemplation....
Sensually stylish glam shot
Smoky sensuality
Another Travis Banton Fashion Statement...
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Lovely Lucille Ball...
In a Travis Banton design...
Zowee, Lucille! (Ball in another Banton with Brent)
Evidently, Lucille Ball was no stranger to fashion do's and don'ts. Her brush with Banton fame occured during the filming of *Lover Come Back*, (1946) with George Brent, Wallace Ford, Franklin Pangborn, and Vera Zorina, possibly retitled *When Lovers Meet* in reissue to avoid being confused with the more popular 1960's version with Doris Day and Rock Hudson.
Ball strode the fifties' fashion avenue like a colossus. Her clothing on the iconic *I Love Lucy* show set the trends for those little gals in Poughkeepsie, Ponca City, and Altoona.
Hausfrau in a house frock...
Remember how she helped to popularize slacks?
Even her dishes used on the popular series, Ivy by Franciscan, were some of the most popular china patterns in America. Ever seen these in Grandmother's Cupboard?
She was always a stylish gal!
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Kyle, this is a lovely post! All your research and archival skills are definitely appreciated. The posters, biographical information, and details about the models highlight all the expressive artwork in the advertisements. I enjoyed Neil Hamilton's work, and he is probably most well known for his stint as Commission Gordon on episodes of Batman!
Thank you so much for such a "stylish" post!
I think Arrow shirts would never regret sponsoring the TCM Film Festival 2012!
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Claudette Colbert wore this lovely lame lounger in *Cleopatra*.
It was designed by the famous Travis Banton.
Another lovely Travis Banton outfit, and Claudette is actually wearing this one!
Look what I found in the Texas State Historical Association's *Handbook of Texas* online:
BANTON, TRAVIS (1894–1958). Travis Banton, Hollywood costume designer known for the "Paramount Look," the son of Rennie B. and Maggie (Jones) Banton, was born at Waco, Texas, on August 18, 1894. When he was two the family moved to New York. Banton's parents later joined him in Hollywood. During his early years in New York his talents developed in art, theater, and custom fashion design. He served in the navy during World War I, enrolled at Columbia University to please his parents, and studied at the Art Students League and the New York School of Fine and Applied Art. He worked on his own as a dress designer and at the fashion house of Lucile. While he was an apprentice with Madame Francis (or Frances) his designs were selected by Mary Pickford for her wedding to Douglas Fairbanks. After designing for Norma Talmadge in the East Coast film Poppy (1917), he soon distinguished himself with costumes for the Ziegfeld Follies and other stage productions, an interest he resumed at the end of his life by dressing Rosalind Russell in the 1956 Broadway production of Auntie Mame. At the time of his death, Banton was designing for Dinah Shore's television show.
He won accolades for dressing some of the world's most popular and glamorous actresses during Hollywood's golden era. His best work was executed before the establishment in 1948 of the now-coveted Academy Award for costume design. In 1924 Walter Wanger brought Banton to Hollywood, where he was contracted by Paramount studios as an assistant to Howard Greer. Banton garnered instant acclaim for dressing star Leatrice Joy and mannequins in the style show for The Dressmaker from Paris (1925). As Paramount's chief designer between 1929 and 1938, followed by freelance film and TV work as part of his couture business, Banton dressed more than 160 films. He played a major role in creating images for movie greats Marlene Dietrich, Carole Lombard, Claudette Colbert, and Mae West. The essence of film-costume elegance appears in the visual classics of Dietrich vehicles such as The Scarlet Empress (1934) and Angel (1937). For the latter, Banton's staff labored weeks; one hand-sewn garment was a Fabergé-inspired gown of chiffon lavished with beading and bordered with Russian sable at a reported cost of $8,000.
Banton also designed for Tallulah Bankhead, Clara Bow, Kitty Carlisle, Ruth Chatterton, Kay Francis, Miriam Hopkins, Ida Lupino, Pola Negri (see CHALUPEC, BARBARA A.), Merle Oberon, Gail Patrick, Sylvia Sidney, Lilyan Tashman, and Florence A. Vidor. Of the films he dressed, many are recognized as classics–1927: Wings; 1928: The Wild Party; 1930: Morocco; 1931: Dishonoured, Dr. Jekyll and Mr. Hyde; 1932: Shanghai Express, Blonde Venus, Night After Night, Trouble In Paradise, A Farewell to Arms, No Man of Her Own, The Sign of the Cross, Sinners In the Sun; 1933: Design for Living, I'm No Angel, Death Takes A Holiday, Bolero; 1934: We're Not Dressing, Rumba, Belle of the Nineties, Ruggles of Red Gap, The Gilded Lily; 1935: The Devil is A Woman, The Crusades, Goin' to Town, So Red the Rose, Anything Goes; 1936: Desire, My Man Godfrey, The Big Broadcast of 1937, Love Before Breakfast; 1937: Maid of Salem, I Met Him in Paris, Nothing Sacred; 1938: Made for Each Other, Fools for Scandal; 1939: Intermezzo, A Love Story; 1941: Charley's Aunt; 1946: Sister Kenny; 1947: Mourning Becomes Electra; 1948: Letters From An Unknown Woman; and 1950: Valentino.
Praising Banton's inspiration, imagination, and intensity, distinguished designers have acknowledged his influence. Edith Head, former Banton assistant at Paramount who went on to win a record number of Oscars, declared: "He was a god there...nobody [would|http://forums.tcm.com/] dare oppose him about anything, including the budgets...Travis was a marvelous designer. Any talent I might have would have lain undiscovered if he hadn't lighted the way for me. In my opinion, he was the greatest." In explaining his adaptations of two Banton dresses, Norman Norell observed that Banton "has been underrated and that his talent surpassed Adrian's, since Banton's costumes were timeless and established many famous images, as with the Mae West look." Two decades after the designer's death, Cecil Beaton praised the Angel creations and judged Banton "one of the most important of the golden years of Hollywood."
Though Banton has been lauded through the years for the originality, fine workmanship, and understated elegance of his costumes, scholars have neglected his genius as an image maker, both on and off screen, for celebrated women such as Marlene Dietrich. Banton's ability paralleled Adrian's acknowledged role as creator of the Greta Garbo and Joan Crawford (Lucille Fay Leseurqv) image. Banton helped invent the Dietrich look along with a unique apparel style that included male attire, like the tuxedo in Morocco (1930), the leather flight suit in Dishonored (1931), and the military uniform in The Scarlet Empress (1934). On her arrival in Hollywood, Dietrich's new svelte and chic silhouette was engineered by Banton. This contrasted with her pudgy appearance as star of The Blue Angel, a 1930 landmark film produced by UFA in Germany. Often credited, however, for the Dietrich look are director Josef von Sternberg and, to a lesser extent, Marlene Dietrich's lighting director, cinematographer, and stills and portrait photographer. This evaluation has relegated Banton to the pages of glossy coffee-table books. Yet Banton acted like a sculptor of cloth and flesh, influencing Dietrich's regimen of weight loss, massage, and exercise. In addition he advised her on demeanor, attitude, and body presentation. Banton's sketch pad and valued counsel likewise transformed Carole Lombard into a new persona of taste and class, reminiscent of Parisian haute couture, a world that he admired and emulated in private life. For the Mae West image, he produced a shapelier and more sexually explicit silhouette with a touch of parody that has been labeled high camp. Though he preferred sophisticated modern dress, his skill in interpreting historical periods inspired such trend-setting consumer adaptations as Claudette Colbert's garb in Cleopatra (1934).
Paramount rewarded these Banton products with salary, publicity, a private domain of artisan workrooms, and a luxury office. Convinced of the commercial value of screen fashion, Adolph Zukor, a former furrier, demanded costume excellence and reveled in the Banton fashion gems. The highly charged position, however, proved bittersweet and gradually took a toll on Banton's life. One studio crisis requiring Zukor's negotiation focused on Claudette Colbert, a longtime Banton admirer, and the costuming for Cleopatra. After rejecting two sets of costume sketches, she streaked Banton's third set of beautifully painted drawings with blood deliberately drawn from her finger to emphasize her displeasure. Another conflict involved a fitting with an ungrateful Nancy Carroll, who slowly ripped an exquisitely crafted garment from her body while Banton and his staff stared in dismay. Frustration and wounded pride escalated with each clash of taste with executives and actresses who were prone to costuming that Banton judged tacky, gaudy, and vulgar. During his tenure at Twentieth Century-Fox (from 1939 to 1941), where he worked for Howard Greer, a feud began with Alice Faye, who resented Banton's references to Dietrich's good taste; Faye later acknowledged the successful costuming for Lillian Russell (1939). From 1945 to 1948 Banton worked as head stylist for Universal Studios. His erratic behavior involving absenteeism and alcohol shortened his life; in this he was not unlike other talented colleagues with emotional and alcohol-related problems, such as Orry-Kelly, Howard Greer, and Irene, who committed suicide at age sixty-one. Banton once quipped that he should have left movies when Adrian did in 1942. He agreed with fellow film and couture colleague Howard Greer that life amid all that world-famous glamour, luxury, and notoriety was not what it seemed and that he missed the theater, opera, ballet, shops, and cuisine of New York and Paris. Late in life he recalled that in Hollywood he had "loathed those endless barbecue things, deadly-dull afternoons spent staring at people wallowing in swimming pools...[in a place where|http://forums.tcm.com/] even the French champagne went flat as soon as it was poured." He admitted, however, to a certain ambivalence, for he needed the studio earnings that supplied the art, antiques, and extravagant lifestyle compatible with his tastes.
Throughout his troubled times women who were grateful for their metamorphosis remained loyal. Carole Lombard requested Banton's designs for her costumes at other studios, including her David O. Selznick pictures. Marlene Dietrich performed in the signature white top hat and tails until the end of her career. Merle Oberon summarized the feelings of this loyal following when she insisted that Banton dress her as George Sand in the 1945 film A Song to Remember. She explained that Banton "knew what the character ought to look like but also understood what an actress was happiest wearing, which is very rare for a costume designer. I never found it necessary to make a single change on any of his drawings." Banton died on February 2, 1958, in Los Angeles. He was buried on February 4 at the Little Church of the Flowers in Glendale, California. An extensive collection of Banton's drawings is housed in the Brooklyn Museum.
For more information about anything from that wonderful place, Texas, yawl, go to :
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I just read this update from THE HOUSTON CHRONICLE over the weekend:
BETHLEHEM, Conn. (AP) — In the little town of Bethlehem, a cloistered nun whose luminous blue eyes entranced [Elvis Presley|http://www.chron.com/?controllerName=search&action=search&channel=entertainment&search=1&inlineLink=1&query=%22Elvis+Presley%22] in his first on-screen movie kiss is praying for a Christmas miracle.
Dolores Hart, who walked away from Hollywood stardom in 1963 to become a nun in rural Bethlehem, Conn., now finds herself back in the spotlight. But this time it's all about serving the King of Kings, not smooching the King of Rock and Roll.
The former brass factory that houses Mother Dolores and about 40 other nuns cloistered at the [Abbey of Regina Laudis|http://www.chron.com/?controllerName=search&action=search&channel=entertainment&search=1&inlineLink=1&query=%22AbbeyofRegina+Laudis%22] needs millions of dollars in renovations to meet fire and safety codes, add an elevator and make handicap accessibility upgrades.
Like 73-year-old Mother Dolores, the order's nuns have taken a vow of stability with the intent to live, work and die at the complex. The order was established in 1947 in Bethlehem, a small burg in Connecticut's rolling western hills.
Now, the historically self-supporting nuns have launched a fundraiser for the $4 million renovation project dubbed "New Horizons." They don't have much money, but they have Mother Dolores: a starlet-turned-supplicant whose unique story might lure the attention and donations of generations of movie fans, particularly those who adore all things Elvis.
"This work may not be in my lifetime that it's finished, but we're sure trying," Mother Dolores said of the upgrades, which are budgeted to run about $2 million for the fire code and accessibility compliance work and another $2 million for improvements to the housing and other facilities.
They hope to break ground in January.
They're not in imminent danger of needing to move out, but many of the older nuns can no longer navigate the narrow steps to the main building's third floor and must live in another building. And without adequate fire escapes, the monastery has caught the eye of local inspectors, though they've worked closely with the nuns on the improvement plans and haven't ordered them to close the building.
For Mother Dolores, the monastery has been home since she was a 24-year-old actress in 1963 and walked away from Hollywood for a life of contemplation and prayer as a postulant.
The abbey's chapel, workshops, livestock pastures and other features are part of her soul now, and its wood-paneled monastery is the only home she's known for 50 years. Its theater holds a special place in her heart, harkening to the former career that landed her on talk shows, in magazines and twice as Elvis Presley's co-star.
Dolores Hart was a vivacious, quick-witted blond starlet when she charmed Hollywood in the 1950s and early 1960s. She shared a kiss with Presley in the 1957 Paramount film, "Loving You" — a modest liplock over which Mother Dolores still fields frequent questions about whether the King was a good kisser.
"I don't know why they ask me. It's right there on the screen to see; it's right there for the looking," she said Thursday.
Hart acted in 10 movies alongside stars including Montgomery Clift, [Myrna Loy|http://www.chron.com/?controllerName=search&action=search&channel=entertainment&search=1&inlineLink=1&query=%22MyrnaLoy%22], [Connie Francis|http://www.chron.com/?controllerName=search&action=search&channel=entertainment&search=1&inlineLink=1&query=%22ConnieFrancis%22] and [Anthony Quinn|http://www.chron.com/?controllerName=search&action=search&channel=entertainment&search=1&inlineLink=1&query=%22Anthony+Quinn%22].
She said she was engaged to be married before joining God's service and leaving the acting world behind. She broke off her engagement, though her fiance remained a close friend and was a frequent visitor and supporter of the abbey until his recent death.
The nuns also received support and help over the years from Mother Dolores' longtime friend and fellow actress [Patricia Neal|http://www.chron.com/?controllerName=search&action=search&channel=entertainment&search=1&inlineLink=1&query=%22Patricia+Neal%22], who was buried at the abbey after her death in August 2010.
Mother Dolores is still a voting member of the [Academy of Motion Picture Arts and Sciences|http://www.chron.com/?controllerName=search&action=search&channel=entertainment&search=1&inlineLink=1&query=%22AcademyofMotionPictureArtsandSciences%22], receiving copies of movies to watch in her small room — or cell, as they're known in the order — to help select yearly Oscar winners.
Her own movies, including the highly popular "Where the Boys Are," were made before stars routinely could negotiate to collect later royalties, she said, so that's not a potential source of income for the upgrades to the abbey.
Amazing about Patricia Neal's involvement. I didn't know about her helping to support the efforts of Mother Dolores.
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Hadda, this is a wonderful post! I can't wait to hear more!
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HAVE A STYLISHLY CLASSIC CHRISTMAS!
It's wonderful to be together ....
with family...
and friends!
Happy Holidays From Sue Sue!
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*Just received this official update, and it looks like it will be another exciting year at the TCM Festival 2012!*
In celebration of the central theme of the 2012 TCM Classic Film Festival, we are excited to announce that we will be including programming tracks that put a spotlight on the style of Film Noir, the Art Deco movement, the legendary costumes of Travis Banton, and the illustrious 100 year history of Paramount Studios with a special focus on the Robert Evans era. Additional programming tracks will be announced in the coming weeks.
We are also thrilled to announce legendary producer Robert Evans, renowned film noir historian Eddie Muller and preservationist and producer Serge Bromberg will be in attendance.
*Paramount Renaissance*
*The TCM Classic Film Festival will mark the 100th Anniversary of Paramount Pictures with screenings of five films from the studio's remarkable years under the leadership of Robert Evans.*
* LOVE STORY (1970) - Ali MacGraw and Ryan O'Neal star in the story of young love that helped save Paramount from bankruptcy.
* THE GODFATHER PART II (1974) - Winner of six Academy Awards, including Best Picture, Francis Ford Coppola directs a star-studded cast lead by Al Pacino, Robert De Niro, Diane Keaton and Robert Duvall.
* CHINATOWN (1974) - Jack Nicholson, Faye Dunaway and John Huston star in this neo-noir directed by Roman Polanski.
* MARATHON MAN (1976) - Dustin Hoffman, Laurence Olivier and Roy Scheider star in this thriller based on the book and screenplay by William Goldman and directed by John Schlesinger.
* BLACK SUNDAY (1977) - Director John Frankenheimer’s tale of terrorism at the Super Bowl stars Bruce Dern, Robert Shaw and Marthe Keller.
*Style in the Movies – The Legendary Costumes of Travis Banton*
*Travis Banton dressed the likes of Mae West, Claudette Colbert, Carole Lombard and a host of other glamorous stars—he also was the costume designer who trained Edith Head. Films will include:*
* NOTHING SACRED (1937) - The first screwball comedy to be shot in color, William Wellman directs Fredric March as a newspaper man who turns a dying woman, played by Carole Lombard, in to a media sensation.
*Style in the Movies – The Noir Style*
*This collection explores the unique style of film noir, known for its often-shadowy black-and-white photography and stylistic set design. Films will include:*
* GUN CRAZY (1950) - John Dall and Peggy Cummins star as lovesick sharpshooters on a crime spree in this Joseph H. Lewis directed classic.
* CRY DANGER (1951) - Dick Powell stars as an ex-con out to find the culprits who framed him for a crime he didn’t commit.
*Style in the Movies – Deco Design*
*In addition to previously announced screening of SWING TIME (1936), the lineup will include:*
* OUR DANCING DAUGHTERS (1928) - A new print of director Harry Beaumont’s Jazz-age silent melodrama starring Joan Crawford.
*Additional Events & Screenings*
* GIRL SHY (1924) - Composer Robert Israel will be on hand to conduct his original score to Harold Lloyd's delightful comedy.
*Rarities and Shorts – Presented by Serge Bromberg*
*As only he can, Bromberg will share a special presentation of rarities and rarely seen shorts from the earliest days of film.*
For more information, go to the Festivals website: http://www.tcm.com/festival/
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From the Huffington Post on 12/1/2011:
Debbie Reynolds has endured a notoriously difficult personal life. The actress' first marriage to Eddie Fisher ended in 1959 -- after four years and two children -- when Fisher left her for a widowed Elizabeth Taylor, despite the fact that the two women were close friends. While Reynolds was understandably livid -- for a while, at least -- she later welcomed Taylor back into her life, and the two remained lifelong friends. So we wondered: how the heck does a friendship bounce back from a betrayal as significant as that?
HuffPost Divorce had a chance to ask the iconic entertainer just that question Thursday at the Paley Center for Media in Beverly Hills, following a tour she hosted of never-before-displayed treasures from her massive collection of film memorabilia, set to go up for auction Saturday (Reynolds was in attendance as part of the day-long TedxWomen conference organized in conjunction with the Paley). Below, her candid comments:
Elizabeth Taylor ran off with your husband. You later became friends with her. You even have memorabilia from her films in your collection. How did you move past her betrayal?
Elizabeth and I were good friends when we were young -- 17. And then when we got older and Eddie [Fisher|http://forums.tcm.com/] left with Elizabeth, things changed, of course. But we wound up to be very good friends again, and laughed about it. Elizabeth was a very strong, powerful woman. When she saw something that she wanted, she got it. And that just happened to be my husband.
How do you get to that positive point with a friend after a situation like that? Did it have anything to do with the fact that you married and divorced twice more after splitting from Fisher?
You have to look at what life is all about, and is it worth it? And, is he worth it? The friendship was perhaps worth more. Divorce and marriage are very close. You read about it every day. Somebody splits up and they stay friends. Someone else splits up and they're terrible enemies and they kill each other. Well, that didn't happen in my life -- it was just a split -- and I was bright enough to know that I respected my friendship with Liz, and I felt that we both had something more to do with it other than being angry with each other.
Was there one moment you remember where you said, 'OK, we're over this?'
Yes. We got on the same boat to go to Europe -- the Queen Elizabeth. I sent a note to her and she sent a note to me in passing, and then we had dinner together. She was married to Richard Burton by then. I had been remarried at that point. And we just said, 'let's call it a day.' And we got smashed. And we had a great evening, and stayed friends since then.
*Since I've already posted about Debbie Reynold's Auction, I think it's time I make an update post for Elizabeth Taylor's, and if I heard one word nineteen different times yesterday, it was the word "style." All the pundits and pontificators were buzzing about the record-selling prices reached by the auction items that celebrated Elizabeth Taylor and her "stylish" jewels. So now it's my turn....*
I think this ruby and diamond ring is delightful. I just wanted to let everyone know just in case you haven't finished shopping for me.
The Mike Todd Tiara...
I was fascinated by this bracelet!
But La Peregrina is one of my favorite pieces of jewelry in the whole collection. And what a collection.
From the Berkshire Eagle....
NEW YORK -- Elizabeth Taylor’s jewelry collection sold for a record-setting $115 million -- including more than $11.8 million for a pearl necklace and more than $8.8 million for a diamond ring given to her by Richard Burton -- at a Christie’s auction Tuesday night of memorabilia amassed by the late actress.
The pearl, diamond and ruby necklace, known as "La Peregrina," reached the world record price of $11,842,500. The price surpassed the previous auction record for a pearl, set in 2007 with the sale of The Baroda Pearls for $7,096,000.
Burton bought the necklace at auction in 1969 for Taylor for $37,000.
Taylor died in Los Angeles in March at age 79. A jewelry lover, she had pieces from some of the most famous names in the jewelry world in her collection.
The 33.19-carat diamond ring sold for $8,818,500. The ring was purchased by a private buyer from Asia, according to a Christie’s spokesman.
Among the other high-profile items was a diamond bracelet given to the "National Velvet" and "Cleopatra" actress by singer Michael Jackson, with an estimated sale price of $30,000 to $50,000. It sold for $194,500. All prices include the buyer’s premium.
Part of the proceeds will go to The Elizabeth Taylor AIDS Foundation, which she established in 1991 to help people living with AIDS.
Follow this link to read more about it:
http://www.elizabethtayloraidsfoundation.org/
If you haven't had enough, here's just one more article on the auction: http://news.ph.msn.com/lifestyle/article.aspx?cp-documentid=5658149
For actual auction info, go to Christie's: http://www.christies.com/elizabethtaylor/the_sales.aspx
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Helenbaby, that is great! It all sounded like a thoroughly enjoyable experience.
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Dear TCM City friends,
I had a wonderful phone call from Hadda, a TCM City poster and fellow traveler, last evening extolling the virtues of the first TCM cruise, and she also "hadda" fantastic time aboard the USS TCM. Hadda may be posting soon on the TCM Cruise forum.
It sounded like so much fun, so look for her travel insights!
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Dear Helenbaby,
I had a wonderful phone call from Hadda, a TCM City poster and fellow traveler, last evening extolling the virtues of the first TCM cruise, and she also "hadda" fantastic time aboard the USS TCM, and may be posting soon on this forum.
It sounded like so much fun!
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Miss Debbie Reynolds, the perennial trouper. Stylish, lovable, popular, ...just keep those adjectives rolling in, just like that stylish gal, herself!
Helen Rose also designed dresses for Debbie Reynolds,
and one of the loveliest ones was an outfit for *Goodbye, Charlie*.
Why, Debbie is always surprising us!
And she just knows everybody, dahlinks.....
She's got a great set of gams...
Why, she's always ready to say "Howdy!"
So I hope this stylish, popular gal can arrange a return trip to the TCM Film Festival in 2012. There are just lots of folks who would love to see her chat about Helen Rose, Fashion, and Style! Somehow she managed to preserve and maintain a mountain of historic Hollywood fashion and memorabilia all by her lil' ole lonesome self. Gee, I wonder why she hasn't been nominated, accepted, and honored at Kennedy Center yet.
Did I miss something? Is her name on the list already?
http://www.kennedy-center.org/programs/specialevents/honors/history/home.html
Oh, well. There is always 2012. Maybe someone could start an email campaign.
She also has been chairman of the board for The Thalians: http://www.debbiereynolds.com/thalians.htm
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This is wonderful! I am so happy you are posting about your trip!
SUE SUE'S TCM FESTIVAL TRAVEL BLOG...
in General Discussion
Posted
We interrupt our regularly scheduled program to announce....
an UPDATE!
*Liza Minnelli, Joel Grey, Debbie Reynolds, Femmes Fatale And Silent Era Child Star "Baby Peggy" Join TCM Classic Film Festival Line Up*
Liza Minnelli, Joel Grey, Debbie Reynolds and "Baby Peggy" Diana Serra Cary, along with film noir leading ladies Peggy Cummins, Rhonda Fleming and Marsha Hunt are the latest stars scheduled to appear at the 2012 TCM Classic Film Festival.
In addition, the festival's celebration of Style in the Movies will include an extensive tribute to Audrey Hepburn including screenings of Sabrina (1954), Funny Face (1957) and the world premiere of a new 45th anniversary restoration of Two for the Road (1967).
The following is a roster of newly added screenings and/or appearances:
Opening Night Gala
CABARET (1972) – World premiere 40th anniversary restoration, with Liza Minnelli and Joel Grey* in attendance
One of the most acclaimed films of its era, Bob Fosse's CABARET stars Oscar-winner Liza Minnelli as an American singer looking for love and success in pre-World War II Berlin. Joel Grey, who is currently co-starring in the Broadway revival of Anything Goes, earned an Oscar as the ubiquitous Master of Ceremonies.
Style in the Movies – The Noir Style
Presented by Eddie Muller, founder of the Film Noir Foundation, this collection explores the unique style of film noir, known for its often-shadowy black-and-white photography and stylistic set design.
(Check out the website: http://filmnoirfoundation.org/)
RAW DEAL (1948) – In attendance: Marsha Hunt
GUN CRAZY (1950) – In attendance: Peggy Cummins
CRY DANGER (1951) – New restoration, in attendance: Rhonda Fleming
Audrey Hepburn: Style Icon
The TCM Classic Film Festival pays tribute to one of the most beautiful and stylish actresses ever to grace the screen with this collection of films showcasing Audrey Hepburn.
SABRINA (1954)
FUNNY FACE (1957)
TWO FOR THE ROAD (1967) – World premiere of new restoration funded by The Film Foundation
Additional Events & Screenings
THE THIEF OF BAGDAD (1924) – Featuring live accompaniment by the Mont Alto Motion Picture Orchestra
GRAND ILLUSION (1937) – North American premiere of 75th anniversary restoration
SINGIN’ IN THE RAIN (1952) – World premiere of 60th anniversary restoration, featuring an appearance by Debbie Reynolds
HOW THE WEST WAS WON (1962) – Presented in Cinerama and featuring an appearance by Debbie Reynolds – Event sponsored by Arclight Cinemas and presented at the Cinerama Dome.
BABY PEGGY: THE ELEPHANT IN THE ROOM (2010) – U.S. premiere; in attendance: "Baby Peggy" Diana Serra Cary and filmmaker Vera Iwerebor
Follow this link for more information on the FUN we are going to have at 2012 this year:
http://i.cnn.net/v5cache/TCM/Files/Dynamic/i157/tcmcff2012_minnelliannouncement_013120120201.pdf
Love Rhonda Fleming? Then you will enjoy her website, so go there if you've never been there before: http://www.rhondafleming.com/