DePalma
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Posts posted by DePalma
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PART ONE
Gloria Swanson was 5' 3", weight 105 lbs, with dark brown hair and huge blue eyes --her best feature. In the early Twenties, during the time she spent under the influence and tutelage of the great Cecil B. De Mille, Swanson blossomed into a star of great influence and a trend setter, particularly with women around the world.
Around this time, she knew the importance of not only looking her best in front of the camera, but in her every day life as well. She said: "When I'm a star, I will be every inch and every moment A STAR! Everyone, from the studio gate man to the highest executive will know it."
Her face, as Larry Carr described in his book "Four Fabulous Faces" Penguin Books 1970 was "gorgeously bizarre" and remains one of the great monuments of the Twenties.
Adela Rogers St. John said in an article for Photoplay magazine (September 1923) "Gloria Swanson, to my own taste, is the most beautiful creature on the screen. I never have any idea what her pictures are all about -- I just like to gaze at her. I can't think of no one on the screen whom will interest me more to see ten years from now."
In 1929, Swanson was voted not only the best gowned woman of the screen, but in the world.
After four smash hits in 1923 and five more in 1924, Swanson sailed for Paris to film "Madame Sans Gene" She fell in love and married Henri, Le Maquis de la Falaise in 1925, adding royalty to her already impressive resume. When ready to return to America, she cable the studio demanding a home welcoming parade: "Arriving Monday with the Marquis. Arrange ovation"
In 1926 she turned down an offer from Paramount at $20,000 dollars a week, 52 weeks a year, for five years. She took a gamble and it paid off. She received her first academy award nomination for Sadie Thompson.
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LOL
Hello, hello, hello...
Sadly, this litle frump will be linked to Marie Antoinette for a long time to come. Search anywhere and you will see that unappealing face with that huge slit for a mouth POP UP!
I am a Norma fan---in case you couldn't tell by my ranting's... I LOVE her photographs more than anything. Those fabulous shots by Sinclair Bull, Carpenter, Hurrell, etc...Shearer was glamour personified and more than a contender to Crawford and Garbo.
JUNGLE RED, Baby, that's what is all about!
DePalma
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Hi Arkadin,
Yes, I do agree with you as well, but as a collector of Hollywood memorabilia, I own a vast collection of original reels, zillions of vintage photographs, production files and thousands of movie related magazines, articles, interviews from the 30s and 40s, etc...Nowhere, and I mean nowhere is Stranger on The Third Floor featured as a top production or a film of any comercial or artistic importance, not until decades later you find anything really worthwile. As far as I see it, it was a B low budget production, perhaps a bit above the norm and it received negative reviews, particularly regarding Peter Lorre. I have to say, that I don't like the film. The actors are hams, it looks so "poised" and studied" almost like a parody. Of course this is not only my opinion and I do quote and check sources, I would rather document myself and check the facts before posting something "just because I say so" This film was not the first American film noir and it certainly didn't give birth to this genre either, regardless how some people seem to "think" so.
Nice to hear from you as well Arkadin. When I take large painting commissions, I save my energies. I'm on break now, so I can play.
Thanks.
DePalma
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PART THREE
The lipstick brush was created by Max Factor for the movies in the early 1920s and was first made available to the public in 1929. A more sophisticated and professional version was launched in 1937.
In 1938 Hedy Lamarr was Max Factor's Girl of The Year. According to Max, Hedy was the most imitated movie star and for three years, her name was the most frequently mentioned. Lana Turner was second runner up, followed by Betty Grable, Rita Hayworth, Greer Garson, Maria Montez, Merle Oberon, Rosalind Russell and Marlene Dietrich.
Betty Grable signed her first agreement with Max Factor in 1938 and the relationship continued for many years.
Ann Sheridan was named Max Factor's Girl of the Year for 1939.
In 1941 Max Factor introduced Brillox Spray for the hair and Joan Fontaine was the first actress to promote the product fresh from winning the Oscar for her work in Suspicion.
Marlene Dietrich demanded that Max Factor sprinkle real gold dust on her wigs to add glitter. This trick was very expensive and the cost for an ounce of gold was $60.00 dollars. After use, the wig would be combed out and about $23.00 dollars worth could be reclaimed. After this, the hair was washed with shampoo which finally settled the rest of the gold at the bottom for collection. A funny gag was played by Tallulah Bankhead on Mae West. She rubbed some gold dust on her thighs and raised her costume in front of Miss West asking: Guess where was I?
Max Factor Jr. and Hall King (who later worked with Lucille Ball in I Love Lucy) continued to work with the stars long after Max Factor passed away.
Max Factor also created wigs for some of Hollywood's most famous movie stars. Dorothy Lamour's long flowing hair for The Jungle Princess. Bette Davis and Miriam Hopkins for The Old Maid. Wigs for the cast of Gone With The Wind. Linda Darnell for Forever Amber and Greer Garson for That Forsyte Woman among others.
I hope you enjoy these bits of information about Max Factor, the stars he represented and his products.
DePalma
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All caps and LOUDER Fred. I can't see you LOL
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Actually it was a low B budget movie as reported in: Lyons, Arthur (2000). Death on the Cheap: The Lost B Movies of Film Noir. New York: Da Capo. ISBN 0-306-80996-6
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I agree with you. I love everything related to Marie Antoinette, but I just can't picture this plain girl playing the queen of France.
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PS: Fred, you are my first ignored member: Congratulations!
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Fred,
If and when I quote something from books or vintage articles is only to show that what I'm saying does have a recorded history and is not just something I "dreamed" or "think" is correct just because I say so. Your ego gets the best of you( as you have shown so many times) and I really have no desire to engaged in a battle of posts with you. I come to these forums because I love movies and everything related to them not to bicker with a puffed up know it all. If correcting your post that Stranger was NOT the first film noir offended you, I could really care less. You are WRONG and THAT is the way it stands no matter how many times you say is not, just because you say so.
Bye Bye Fred
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PART TWO
In 1921, Max Factor introduced the powder brush. It was advertised as to insure the ultimate complexion smoothness. Right away it became an indispensable tool for other make-up artists and women all around the world. Mae Murray was the first star to use Max Factor's new powder brush.
When Ben Hur 1925 was ready to start filming, Max Factor received an order for 600 gallons of body make-up.
In 1929, Jean Harlow was signed by Howard Hughes to start in Hell's Angels. Harlow was rushed to Max Factor's with instructions to "effect an alteration in her appearance, one that would make her nationally known and talked about almost overnight" Max factor in return created the Platinum Tint. Within weeks Harlow was world famous.
By the 1930s, stars like Clara Bow, Joan Crawford, Bette Davis and Loretta Young among others, signed a contract with Max Factor that would promote their latest films along with his products for the sum of a dollar. Later on other beauty products by different companies would follow, most memorable: Lustre Cream and Maybelline.
The opening of Max Factor Make Up Studio in 1933 was a star packed affair and the most glamorous event of the year.
The most revolutionary of all of Max Factor's creations came in 1937 when he introduced "Pan-Cake" make-up. Pan because of the small, flat, pan-like container and cake because of how it was made. Joan Bennet was the first star to be advertised with this product when she signed up for "Vogues of 1938", after Carole Lombard refused the part due to fear of color film.
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Remember Peter Lorre's hand and arm coming out of the half open door as John McGuire is trying to find him out?
"Yeah. Great shot. That's what helps make it the first American "film noir".
Nonsense. Totally untrue.
DePalma
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You got that right.
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"Oh, nonsense. There are no "government standards" about this. This is all a matter of opinion, and if I say it is the first American "film noir" then it IS the first American "film noir".
Stranger on the Third Floor it's NOT the first American film noir and just because you say it is does not make it so. Regardless of how much of an authority you think you are, the fact remains that all the films I mentioned were made in 1939 a year before Stranger was made.
DePalma
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PART ONE
Max Factor was The Face Maker. He literally changed the way movie stars looked on The Silver Screen and off. Eventually, women around the world too wanted to be as glamorous and as beautiful as the screen stars and the rest is history.
Among his first creations was "Rosebud Lips" a fuller more sensuous lip line that was highly popular from around 1917 to the 1920s.
Max Factor's Supreme Liquid White was introduced around 1918. This product stated that it would not rub off, it would not harm the skin and contained no lead. It was a hit.
Pola Negri was one of the first Vamps of the screen and a temperamental one at that. Negri a native from Poland, was famous for hissing and screaming in her native tongue to everyone around her. Not happy with Factor's "new way" of work, she screamed and raved at Max and even threatened to throw things at him. Miss Pola was in for the surprise of her life. Max Factor refused to accept her abuse and screamed back telling her that he was ready to throw bigger objects her way if she didn't cooperate. After seen herself on the screen, she returned to his shop in full regalia with a large entourage and told Max; "I'm so beautiful! No one is more beautiful! We MUST do it again! No? They became close friends after that.
Gloria Swanson was another supreme star that put herself in Factor's hands completely. Factor created the modern sleek coiffure Swanson made famous and the special shading to her lids for more expressive power. She particularly loved the smoldering look of her eyes on the screen.
Both Negri and Swanson shared the same studio, Paramount. They too had one of the first "star feuds" ever, something Gloria declared as fiction as she told Hellen Klump in a 1923 interview for Picture Play: The papers have made it appear that Pola and I were squabbling little vulgarians. The fact is that Miss Negri had been a guest in my home---and I think her"little foreign ways" are fascinating---and her accent....delightful.
In 1922, Max factor introduced the new grease paint in tubes that included 31 shades. The make-up master warned girls too go easy on his products and not paint themselves like Indians.
Greta Garbo had been credited to have inspired Max Factor to create the Black Screen faux eyelashes so the other actress could achieve the same look. Not true. Much has been said about Garbo's super long eyelashes. Some swear they were real, others say they were not. I personally believe they were natural. The way that natural eyelashes "clump" together at the tips due to the use of mascara is a give away. This is not possible with fake ones even if you apply mascara, they still look fake. Look closely at Garbo's photographs (close-ups with her eyes in particular) and you will see this effect, plus no seam glued to the eyelids, something that is quite obvious with many other stars.
The fact is that Max Factor created fake eyelashes around 1920 _way before Garbo arrived in Hollywood_ for Phyllis Haver. After this every star wanted the same look.
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Dear CineSage,
In case you didn't know, movies are like a glamorous woman, 50% props and 50% illusion.
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I cringe at the thought of mousy Kristen Dunst forever linked to Marie Antoinette.
What was Coppola drinking when she selected this plain girl to play such a part? I thought it was a terrible choice. I went to the theater to see it and couldn't wait for it to end.
I can't help but feeling that Norma Shearer's Marie Antoinette was and still is the most breathtaking, glamorous and lavish production ever created. Those magnificent gowns draped with lace and dripping jewels, the sets and the fabulous props....this was truly the stuff that dreams are made of. Norma was not just playing a part, Norma was the queen of MGM.
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People often make the mistake of calling this picture "The First Film Noir" This is not correct.
For example, "Blind Alley",directed by Charles Vidor, "Rio" and "Let Us Live" both directed by John Brahm all made in 1939 predates "Stranger" 1940.
Considered a low budget B movie, this film was not well received and it faded away until it was re-discovered decades later and hailed as the firts blah, blah blah.
In my personal opinion, I think the actors in this film run wild making faces, acting up a storm of histrionics and holding ridiculous poses that are everything but scary. Remember Peter Lorre's hand and arm coming out of the half open door as John McGuire is trying to find him out? Silly to say the least. The best thing in this film is by far Elisha Cook Jr.
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Drew Barrymore with the right makeup and style can create a great looking Linda Darnell.
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I think he's atlking about "The Passenger" 1975 with Jack Nicholson and Maria Schneider.
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I just finished watching this most lavish production (done so dozens of times over the years) and will start by saying, that I can't imagne any other actress of the time or present that could overshadow Norma Shearer as the queen of France. I must admit that at times I do find her a bit "hamish" to say the least with her fondness for the histrionics, but still Norma manages to portray this most iconic character with a regal flair that reeks glamour from ever pour. Of course, the costumes and wigs are the meat and potatoes of the film. I don't think the real queen had better frocks and rugs then the ones Adrian created for Shearer. I would love to hear your opinions on this marvelous film.
Thanks
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I strongly advice you to watch Enchanted April. I give you my word it will become one of your favorite films.
Thanks
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Hello CineMaven,
Absolutely!
I adore Richardson.
Back to Enchanted April, remember that fabulous shot of Miranda (the morning after) when she's leaning on the terrace admiring the view? Wasn't that gorgeous? It looked like a painting AND that stunning closeup with the little lizard walking on her hair...just wonderful!
Thanks
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Film Fatale, what's your opinion on Martha as a programmer and also, your views on Garbo and Vivien as Anna Karenina?
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Miranda Richardon is a true artist. She's one of the few actresses today that is also a star in every sense of the word.
NORMA SHEARER: MARIE ANTOINETTE
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Posted
ROFLMAO
To be perfectly honest, I don't consider today's movie actresses "Stars" As one of my favorite heroines of The Silver Screen said when talking about her screen persona: "Still wonderful, isn't it? And no dialogue...we didn't need dialogue _ WE HAD FACES" Norma Desmond in Sunset Boulevard.
There are times however, when a good production does put out an excellent film with stunning visuals . For example: Jane Campion's The Piano and Portrait of a Lady. The locations, costumes and props selected made these films most appealing and the actresses reeked old Hollywood glamour. Also, two other favorites are Onegin, starring Ralph Fiennes (a favorite of mine) and the lovely Liv Tyler, I even dare say she had a "certain look" about her as a young Ava Gardner. This film was photographed quite beautifully. The other film that comes to mind is "Firelight" 1999 with the gorgeous Sophie Marceu and the dashing Stephen Dillane. In the most climatic scene she explains to Dillane the meaning of firelight: Its a kind of magic. Firelight makes time stand still. When you put out the lamps and sit in the firelight's glow there aren't any rules. You can do what you want, say what you want, be what you want...and when the lamps are lit again, time starts again....and everything you said or did is forgotten. More than forgotten it never happened.
Talk about a good conversation piece with someone you got en eye for.
DePalma