Arturo

I thought the show this year was more energetic and less boring than some of the recent ones. Seth was okay; I like his humor. Other than some people not happy in the "We Saw your Boobs" (was that Charlize that looked **** to be mentioned?), I didn't really hear any groans from the audience; then again, I was in a room of about 20-25 people laughing uproariously. I thought Bassey was great, as was Jennifer Hudson; Adele, Streisand and Zeta-Jones not so much (although Catherine looked STUNNING performing). I get why Babs was used (as Michelle Obama also, because they wanted to participate); but I don't think Hamlisch should have been singled out. Especially when some stars were not included in that segment-and when the only applause from the audience seemed to be over an agent or publicist, well that tells me where these folks' minds are at. The stars and guests all looked great, the women amazing, and hopefully no one went to an after-party and tore her gown, cut it and re-mended it. All in all, an enjoyable evening,with major qualifiers.

*Where do those dresses go after the show? Do they ever wear them again??* Well, if it was worn by Lindsay Lohan, it will get torn, re-hemmed, and ruined.

*What would be an interesting type of study would be to look at actresses and the movies they made when they were in their late 20s early 30s (what I'm calling their peak period) and the time period this occured iin.* jjg: While it would be interesting comparing from a certain standpoint, there are so many other factors involved besides age that influenced a movie actress' career during the golden age, and this "one-size fits all' general type approach doesn't really able one to come to hard and fast conclusions. But in the specific instances you mentioned: Olivia DeHavilland had been a popular leading lady and star since the mid-30s. Coincidentally, she was able to break free from her WB contract in 1946, when you mention she turned 30. She was able to pick strong roles from those submitted to her, as her name retained the lustre of the fight she had just won; rather surprisingly, she was not blackballed by the majors, since she had already started making movies, on the dl, even before her suit had concluded. Right off the bat she gets nominated, and won an Oscar, which only engendered more of the best roles around being offered to her, including two more nominations (with another win) in the next 3 years. Both Susan Hayward and Ava Gardner achieved stardom at a later age than did Linda Darnell, who had become a leading lady at age 15. True at age 20, she radically shifted her image successfully, which led to a renewed vigor in her career. But at the time Linda turned 30, in 1953, newly free from her long-term contract at Fox, the studios were in crisis, and movie production was in freefall, and freelancing in this atmosphere was a difficult and crowded endeavor. Linda, around for nearly 15 years as a star, was quickly seen as passé by the new breed of filmmakers, as well as older ones, all trying to cater to young audiences by providing fresh new personalities for their movies. By contrast, both Susan and Ava achieved real stardom in the last half of the 40s. Susan would become one of the industry's top stars in the 1950s, at her new berth at Fox, where she was an unwitting factor in Linda's displacement there. Ava, who finally got star parts at the very end of the 40s, also had a long-term contract, at MGM, for most of the 50s. So this is how Susan and Ava better weathered this than Linda, becoming stars at a much later age than Linda, and still having security from their long-term contracts.

> It is interesting to note that Olivia`s Oscar wins for To Each His Own and The Heiress were also produced at Paramount Studios. Yes, not at her home studio Warner Brothers. It is also interesting to note that both HOLD BACK THE DAWN and TO EACH HIS OWN were directed by Mitchell Leisen. Well, by 1946, the year TO EACH HIS OOWN was released, Olivia had won her suit and was no longer chattel for Warner Brothers. In fact, she hadn't made a movie for them since 1943, when she brought the suit on them (although DEVOTION was released belatedly in 1946).

*Topbilled wrote:* *I think this is the reason her film career is in significant decline at this point...she seems to be accepting jobs in mediocre productions.* Well Linda had serious money issues from the beginning of the 50s, when she turned over most of her savings to Pev Marley so he could divorce her quietly. She renegotiated her contract with 20th Century Fox in early 1951, allowing her to do outside films. Unfortunately, the 50s was not a good time to become a freelancer, as every studio was downsizing production as a result of diminishing audiences, and as a consequence, many contractees were let go, since fewer were needed for the reduced number of movies. EVERY studio was doing this; many people found themselves on the market scrambling for the fewer and fewer movie roles available. Linda originally tried to be able to pick and choose roles for their intrinsic value; to this end she had wished to purchase the ranch in New Mexico, feeling that the low overhead would allow her to hold out for better offers. But it didn't work out this way, since being away from the Hollywood scene meant she wasn't seen at functions, and therefore not considered for potential roles. As she no longer had that sizable weekly paycheck from the studio, she ended up taking much of what did come along just to keep afloat financially. Not that she would accept just anything; she felt that the movies she chose had some value, at least in the early conception or script. She had chosen THE LADY PAYS OFF because she had worked with Douglas Sirk in her transformative role of SUMMER STORM, plus she liked the change of pace of playing a schoolteacher. Likewise, in BLACKBEARD THE PIRATE, she got to work with important director Raoul Walsh, plus it let her return to her early 'damsel in distress' image. Both movies she did with Stuart Heisler, were more promising originally; he made a mess of both, especially THIS IS MY LOVE. And SECOND CHANCE was another promising movie that was tinkered with, in this case, by Howard Hughes; who rearranged and cut out scenes, and generally retooled it before release. Linda was also very hopeful about her film ventures in Italy, having fallen in love with Italian Neo-Realism; who knew that only one of the two she made would be released in the US, and 3 years later at that? Now, had she remained at Fox, she might've gotten some good roles. Every movie made by Susan Hayward at this time Linda could've done just as well: WHITE WITCH HUNTER, DEMETRIUS AND THE GLADIATORS, GARDEN OF EVIL, UNTAMED, SOLDIER OF FORTUNE. Or she could've been seen to good effect in movies where the studio again borrowed outside players: DESIREE, THE RAINS OF RANCHIPUR, THE MAGNIFICENT MATADOR, THE TALL MEN, THE RAINS OF RANCHIPUR, THAT LADY, THE REVOLT OF MAMIE STOVER, THE BOTTOM OF THE BOTTLE, among others. Even LOVE IS A MANY-SPLENDOURED THING, where she could have returned to her early image of exotic (Eur)asian. Of course, the one movie loss that really hurt Linda was not getting the lead in THE BAREFOOT CONTESSA, after her lover Joe Mankiewicz had promised it to her. Mank probably went with Ava for this because of her name constantly making headlines at this time, what with her and her husband Frank Sinatra fighting and making up publicly on three continents: North America, Africa and Europe. So her name in the headlines was making her an even hotter commodity than ever before. In any case, it dealt a blow to Linda's ego, as well as to her relationship with Mank. And as I said, only in retrospect can we say that her career was in significant decline at this time. She had 3 movies released in 1951, another three in 1952, but only one in 1953; it was known that she had gone to film in Italy, so that one was assumed to be imminently released. In early 1954, she was back in Hollywood starring in another role, so it wasn't obvious to casual observers that her career was nosediving. And of the four of her movies released in 1952 and 1953, three of them were solid hits. *She no longer has the benefit of men like Zanuck and Preminger guiding her and she is starting to sink.* Well it is dubious as to the benefit that Zanuck actually provided Linda, as he was intent on guiding her to production after production in roles where she only had to look beautiful, glamorous and/or sexy, and with no acting challenge to speak of. This is why she clashed repeatedly with Zanuck in the late 40s/early 50s, because she wanted roles that were a challenge for her. She wanted to stretch her abilities, but as usual, Zanuck could not see a woman known for her looks as being able to carry off certain roles, and he would usually borrow an outsider for some of the studio's more important female roles. This becomes more complicated in the 50s, with the arrival of Susan Hayward on the lot, and her quick ascent to top stardom. She started getting the best roles, many of which would have been suitable for Linda. So Linda is seen as no longer necessary, as Susan was now Zanuck's "Million Dollar Baby", and was let go after nearly 14 years at Fox. Preminger and Linda had not gotten along in the 4 movies they made together, and while they were good movies overall, and she was good in all of them, Linda was not his first choice (as she was seldom Zanuck's) when he was considering filling a role; usually, Linda was foisted on her by the studio. So with Preminger starting to do his independent productions from 1952 onward, Linda was not someone he would consider for say, THE MAN WITH THE GOLDEN ARM or ANATOMY OF A MURDER, either of which she could've done imho.

One of the reasons that Linda Darnell agreed to marry Phillip Liebmann (albeit secretly) in February 1954, was that she broke for good from Joseph Mankiewicz after more than five years of their having an affair. The reason for this was that Mankiewicz, who had promised Linda the lead in THE BAREFOOT CONTESSA (even writing some of it in her hotel room), gave the role to Ava Gardner. Linda, heartbroken, read about it in the trade papers that Ava had been cast. So Liebmann, who had been courting her, finally got a "yes" to his proposals. TBC was a strong role in an important film, and would have helped keep Linda's career afloat, at a time when she needed something like this movie. Soon after her marriage, Linda returned to Hollywood to film THIS IS MY LOVE for RKO. Actually, this movie was done on the Republic lot, as RKOs soundstages were all apparently busy. This was another movie done under the guidance of Stuart Heisler, and Linda relished the role of the neurotic sister to Faith Domergue, another former Howard Hughes girlfriend. The cast was actually a strong one; besides the two female stars, Dan Duryea played Domergue's crippled husband, and newcomer Rick Jason the drifter that sets the plot (and hormones) going. Again, as in her other collaboration with Heisler, Linda had a hand in selecting her costar Jason. He wrote later that the problem with the movie was that Heisler tore out pages of dialogue wholesale as he filmed, and the resultant film was given poor reviews. However, the cast was a powerhouse one, and while the script was a mess, they rose to the occasion. This is arguably one of Linda's two best performances in movies IMHO, and more than justifies this film's viewing. The others don't do badly either. Linda is made to play extended scenes in a black slip; she obviously was still quite attractive and voluptuous. Be she enjoyed the part of the love-starved spinster, especially as it downplayed making her glamorous. She got very good reviews for her efforts.

*ISLAND OF DESIRE has a 6.6 rating on the IMDB; while THIS IS MY LOVE has a 5.7 rating. One user review labels the script for THIS IS MY LOVE as 'tepid.' I think this is the reason her film career is in significant decline at this point...she seems to be accepting jobs in mediocre productions. She no longer has the benefit of men like Zanuck and Preminger guiding her and she is starting to sink. She should've gone off and tried to reinvent herself on Broadway, or taken a few years off and then come back as a character actress. She is valiantly hanging in and trying to keep her Hollywood career going as a leading lady, but things are not what they once were.* TB, nice summarizing, but you getting ahead of the story lol. It is only in retrospect that we can say her career is "in significant decline at this point", because it wasn't quite just yet, but would be shortly. Actually, taking a few years off would be part of her problem. But all in due time.

Linda Darnell ended 1953, her first year without being under long-term contract, with two films completed: SECOND CHANCE and DONNE PROIBITE. The first had come out in the summer, and had been a hit. The second, filmed in Italy, would see a release there, and elsewhere in Europe, in 1954. It would not be released in the US until late 1956, and then poorly dubbed and with spotty distribution (and rechristened ANGELS OF DARKNESS). No matter. It received poor reviews here when it did get released, and sank rather quickly. She never made the second film in Italy at this time. 1954 saw Linda continue the pattern of late 1953, spending time away from the film capital in New Mexico. She had continued to date Phillip Liebmann, an executive at Rheingold Beer, and he continued to work on making her his trophy wife. In an effort to do this, he bought Linda the ranch that she had been eying in New Mexico. Although she was not attracted to him, she finally capitulated, and they married secretly in February 1954. As a wedding present, Liebmann and his father gathered approximately $45,000, as per Linda's request, to serve as seed money for Linda's pet project, founding the Girl's Town of Italy. Liebmann also gave Linda a diamond engagement ring insured for over $40,000. Shortly after the marriage, in which Liebmann wanted Linda to retire from movie-making, she returned to Hollywood to film another movie for Stuart Heisler, her director in 1952's ISLAND OF DESIRE. More to come......

*I just realized February is half over. YIPPEE!!!* But not the halfway mark to the 31 Days....three days in March also.

Linda Darnell completed filming DONNE PROIBITE (which translates as PROHIBITED WOMEN more or less) at the end of the Summer of 1953. During her time in Italy, she had continued her affair with her director, Giuseppe Amato. It had grown increasingly contentious, as he felt she was too liberated, and she wouldn't take orders from a chauvinistic man. As she was drinking steadily, their evenings would usually end in a argument, since her resentments would come out as her inhibitions went down, and he knew exactly what to say to push her buttons. After the filming was done, she stayed on a bit to try to set up a Girl's Town of Italy, after seeing some unkempt girls daily as she traveled to and from Cinecittá Studios on the outskirts of Rome. She flew back to the States to try to get financing for this project. Landing in New York, she spent some time with Joseph Mankiewicz, with whom she'd been having an affair on and off for about 5 years. While with him, he was working on the script for his next project, THE BAREFOOT CONTESSA, and apparently told her she would be the lead. Linda then returned to California. She had some talks with director David Miller, over a film he was planning on filming on the French Riviera, BEAUTIFUL STRANGER. These talks did not pan out; apparently he wanted Linda to invest some of her money in the project, but she was either unwilling or unable; two years earlier, she had used most of her savings to pay her ex-husband Pev Marley $125,000 so as not to contest their divorce. So she may not have had the cash to invest in this film. Somewhat later, Ginger Rogers became an investor in, and star of, BEAUTIFUL STRANGER (which woudl be released in the US as TWIST OF FATE). She did so on the condition that her new husband, Jacques Bergerac, be assigned a costarring role. Linda had started dating Phillip Leibmann, an executive with Rheinhardt Beer, even before having gone off to Rome. The relationship had started when some commercials for the beer were done at her mansion. Upon returning to LA, they would be seen around town, since his company was setting up a West Coarst presence, and as he continued to tryto woo her. She denied that she had any plans to marry him, especially since she wasn't really attracted to him. He continued to pursue her nonetheless. With no other film offers, Linda went to New Mexico to visit friends. She had earlier expressed a desire to live there, saying that the altitude was good for her low blood pressure. This time around, she found a nearby sheep ranch that she wanted to buy. Since she did not care much for the Hollywood social whirl, she felt that she could live on the ranch and go to Hollywood only for filming a movie. As with most every decision or happenstance with Linda during these years, the timing would prove to be fateful to her long-term career plans; all Hollywood producers knew was that she had dropped out of sight, and so she wasn't considered for too many roles at this crucial time, when filmmaking was being cut back significantly as the threat of TV continued to haunt the industry.

I actually thought that TCM's programmers worked into their 31 Days Selznick tribute with Valentine's Day, thereby scheduling GWTW and REBECCA. Both are romantic films of the highest order in my book.

*THE GIFT OF LOVE (1958)* In this film, we have 70 minutes to reconcile ourselves to the fact that the lead character (Lauren Bacall) is going to die. *If we've already seen the original version of this Fox melodrama*, we know just how much of an eternity that hour and ten minutes may seem. Topbilled, For the record, since you don't mention it, (I know you know, but not everybody does know) the original is called SENTIMENTAL JOURNEY (1946), starring John Payne and Maureen O'Hara.

Linda Darnell prepared to go to Italy in mid-1953, to make films with Giuseppe Amato. She anticipated this trip highly: She was bored with the Hollywood scene, from which she had been shying away due her bouts of depression and fluctuating weight; she wanted some serious prospects of a livening of her love life-she had dated somewhat since her divorce two years previously (and had had an affair the year before in Italy with Amato), but there was no real excitement (and Joe Mankiewicz had been busy in New York on JULIUS CAESAR); but mostly, she was excited about the prospects of the new Italian Neo-Realism, and was convinced she would be in some worthwhile projects. She would be starting with the oft-postponed DONNE PROIBITE, but she had also been in discussions over a filmed version of CAVALLIERE RUSTICANA, to be done shortly thereafter. So off Linda went, and rented a villa not far from the Cinecitta Studios. She took her daughter Lola with her, and apparently resumed her affair with Amato. The movie was about three prostitutes, who lived in a brothel scheduled to be torn down. Also starring was Linda's friend from her early Fox days, Anthony Quinn, and two names already known to American audiences (Valentina Cortese) or soon to be known (Giuletta Massina). Linda filmed throughout the Summer of 1953, and would really enjoy the experience. She also became aware of a group of orphan girls staying near her rented digs, and became interested in helping them with a Girl's Town. More to come......

Linda Darnell completes filming of SECOND CHANCE late in the Spring of 1953. She is now a freelancer, in the hectic, panicky world that is Hollywood at this time. Linda, as with many other veteran stars, would see that they were being overlooked for many roles that they were suited for; one of the studios' strategies was that new names were being promoted to the public. As mentioned, Linda could have done several roles at this time at her old studio, Fox, like PICK-UP ON SOUTH STREET (for which she had been considered), GENTLEMEN PREFER BLONDES, HOW TO MARRY A MILLIONAIRE, THE PRESIDENT'S LADY or WHITE WITCH DOCTOR, among others. But that was not to be. So Italy was next......

*It would be nice, as mentioned here, if a restored version could be released, and maybe deleted scenes included, or better yet, the Director's cut (or the 50s equivalent) showing how the movie was supposed to be structured (of course, if all this footage exists still, plus the notes to be ble to re-create this). Here's to hoping...* As if.....I'm sure that if an RKO movie were to be reassembled and made available in a 'Director's Cut", the likes of THE MAGNIFICENT AMBERSON would take precedence over a potboiler like SECOND CHANCE. But hey, in a perfect world (or alternate universe), there is room for everything.

Well back when I was a kid in the 70s, I told my mom I was sick one day, to stay home and watch another Mankiewicz film with my favorite, Linda Darnell; A LETTER TO THREE WIVES, showing at Noon that day on Ben Hunter's Matinee. Well a really crappy Butch Jenkins feature was played, and allowed to play all the way through. Hunter commented on what a load of c**p that was.

*I didn't see the TCM print, but I know I've seen a decent print on TV. Maybe it was on FMC* SECOND CHANCE was made by RKO, so it couldn't have been FMC. Maybe the old AMC, which did show it on occasion. But I'm almost sure TCM has shown it prior to Linda's SUTS in 2011.

I have read that Howard Hughes tinkered greatly with SECOND CHANCE (as he was wont to do), and reshuffled the order of the scenes. I don't know if much was cut out, but there are publicity photos from this shoot showing Linda with a camera at the outdoor laundry area, obviously as a tourist (she later passes through this area fleeing Jack Palance, as does he). Others I've seen have her in a chapel, and one at the bullfights in Mexico City (this one was probably not from a scene for the movie, but you never know). Anyway, I don't know if these shots of Linda around Taxco were part of early scenes where she takes in the local sights, before the arrival in town of the menacing Palance. Other indications of missing/rearranged scenes are when Linda and Mitchum are first seen together, on the elevator, he asks if their date is still on for later. So an earlier meeting might have been filmed. Also, in the marketplace, Linda moves away from a vendor whose lips are moving totally independently from what he is saying in Spanish (although in this case, it was probably a need to redub the dialogue in the studio, but it could be a case of HH tampering with the storyline during postproduction). It owuld be nice, as mentioned here, if a restored version could be released, and maybe deleted scenes included, or better yet, the Director's cut (or the 50s equivalent) showing how the movie was supposed to be structured (of course, if all this footage exists still, plus the notes to be ble to re-create this). Here's to hoping...

*Shrimp and cactus sandwiches? Never heard of 'em, but I'd certainly try them! Sounds good.* VX: Not exactly. In this case the Torta is a patty, made with ground shrimp and egg, which are fried until fluffy. These are added to diced cactus, which are cooked in a red chile sauce. Delicious Mexican dish for Cuarezma, or Lent.

It's a 20th Century Fox movie, and as such, is on occasionally on FMC, and also on HBO/Cinemax...maybe they have exclusive rights right now.

Exhibit A in TCM needing to put a time limit (decade, year) on what to show and what not to show, especially during 31 Days of Oscar. While it may be a fun movie, it should be consigned to TCM Underground at best.

I make 3 types of rice: White rice, which tends to come out sticky, but tastes good. Sopa de Arroz: usually Mahatma white rice (as above) which I stir fry with a little oil and garlic, when golden I add chopped tomatoes, onions, bell pepper and peas, then I add chicken broth, cover and let simmer until most of the liquid has evaporated. Comes out nearly as good as my mom's (who gave me the recipe). Paella: Here I cheat (don't have the time to find saffron). I buy a box of Vigo Paella Rice Mix. I bring some water to a boil, throw in the contents of the bag (rice with all the spices), then the contents of the tin can (variety of seafood in oil), and add other ingredients (shrimp, chorizo, chicken), cover, and let simmer. In about 30 minutes tops, a great paella. Now, Paella is a dish I will make during Lent (not for Mardi Gras), either Ash Wednesday, or a Friday in Lent. But my favorite Lenten dish is Tortas de Camarón con Nopales....yummy! Edited by: Arturo on Feb 11, 2013 8:12 PM

Veronica Lake was one of the essential stars of the 40s, and a great noir gal, perfectly partnered with the equally petite, equally insolent Ladd. Too bad her career didn't outlive the decade by too much.... everybody's loss. But this pretty much happened with all of Paramount's big female stars of the 40s, exclusively at the studio (as opposed to the freelancers): Veronica, Dorothy Lamour, Paulette Goddard and Betty Hutton, for varying reasons.

Well in the 70s and 80s, on TV, were Waylon Flowers and Madame, and the black guy with the black dummy, wearing round glasses (obviously I forgot their names).

*It certainly is interesting that suffrage doesn't even get mentioned. I have to assume that Zanuck, who was the overwhelming driving force on this film right down to anonymously co-writing the screenplay, just wasn't terribly interested in that issue. It may have taken more time and perspective from a further number of years away for people to appreciate how historic that was.* Well, in one of Zanuck's best vehicles for Alice Faye (and another biographical film at that), 1940's LILLIAN RUSSELL, the topic of Women's Suffrage plays a very prominent part; Russell's mother was a prominent suffragette it seems.