BITS OF COINCIDENCE: Part Five

Has Anybody Seen... James Dean???

It is commonly accepted that James Dean appeared in only three films. Accepted, but untrue. One of James's first big breaks came when he was featured in the film Has Anybody Seen My Gal (left)? A bit part, his big screen moment amounted to him ordering a sundae from Charles Coburn. Hardly groundbreaking... In fact, after Dean's death, the film's star, Piper Laurie, had no idea that she had even been in a film with the late, great James Dean until it was pointed out to her. However, the film's other star, Rock Hudson, would remember Dean when they were cast together once more in Giant. Rock was not amused at the reunion, and (despite gossip to the contrary), he and James did not get along. Mutually threatened by the other's presence, Rock and James rarely conversed and constantly competed for the attention of Elizabeth Taylor, a friend to both. Perhaps it was a simple clash of egos; perhaps the more congenial Rock simply couldn't get around James's idiosyncratic behavior. But, perhaps Rock was a little jealous of the fact that the runt, bit player he once towered over had grown exponentially in popularity since Has Anybody Seen My Gal, and was now stealing scenes from him to boot!

James also did a lot of television work, which isn't popularly recalled. His television debut came via an Easter special-- "The Family Theater: Hill Number One" (right). In it, he played John the Apostle. His first professional part on film and he was cast opposite both struggling actors and seasoned thespians alike, including Raymond Burr, Ruth Hussey, Roddy McDowall, Gene Lockhart, and Leif Erickson. A struggling nobody at the time, his fame would surpass them all within 4 years when he made Elia Kazan's classic East of Eden. But, he did get some notice at the time. His first foray into film acting also spawned his first small fan club, whose meetings he gladly attended! After all, the boy loved attention...

After her days in the Hollywood limelight had faded, which was just fine with her, Jean Arthur (left) had some intermittent bouts teaching dramatics. One gig found her at Vassar in the spring of 1968 as co-instructor with Clint Atkinson. The odd-ball lady's teaching skills were often reported as sub-par, but her students normally fell under her spell nonetheless-- that is, after they realized who she was. In the days before Cable, DVDs, and Netflix, becoming familiar with celebrities of the glory days was not as easy as it is in present society. In fact, it seemed at times that Jean herself had forgotten her stature. The once famous screwball queen of Mr. Deeds Goes to Town no longer saw herself as anyone of import, and she  always remained humbled by other performers. Never recognizing her own talents, it wasn't uncommon for her to become tongue tied around someone she found truly gifted. For example, she once went to one of the plays Atkinson directed, "Miss Julie," and was so blown away by the lead female's performance that she forgot her own status and gushed: "It was just like watching a movie star!" It was a prophetic moment, for the young drama major Meryl Streep went onto a very healthy and groundbreaking cinematic career.

Meryl, as she appeared in her Vassar days.

Jean wasn't the only one responsible for accidentally spotting one of Hollywood's predestined diamonds in the rough. In 1944, actor Ronald Reagan (right in Knute Rockne All American) was already dabbling in politics and matters of state when he was made a Lieutenant of the army's First Motion Picture Unit. Coincidentally, he had the idea to boost the war effort by sending photographers out to take pictures of women doing their part for battle. As such, photographer Corporal David Conover was sent to Radioplane at the Glendale Metropolitan Airport to photograph pretty girls hard at work a la Rosie the Riveter. Conover was particularly taken with one beauty, whom his camera truly seemed to favor. After the pictures were printed, it was clear that the rest of America favored her too. Before she knew it, she was working steadily as a model for Emmeline Snively. Soon after changing her name from Norma Jeane Dougherty to Marilyn Monroe, and getting a divorce, she would work her tail off in the film biz and become a famous movie star. I wonder if she ever thanked ol' Ron for the boost?

This Norma Jeane had a long way to go before
she became Marilyn Monroe.

Harpo Marx adored children. The product of a large family himself, it was only natural that the Marx boy with the biggest heart would want a huge brood of his own. He and wife Susan Fleming would eventually adopt four children, all of whom worshipped their Pops, who was more of a child than they were most of the time. George Burns, a good friend, was so moved by Harpo's paternal penchants that he asked why he felt the need to have so many kids? Harpo responded-- with actual speech-- that his dream was to leave the house in the morning and have a smiling face waving to him from every window. I guess he was one kid short, because when shooting Horse Feathers in 1932, he became completely enchanted with a young actress who was ambling about the set with her mother. Though a very pretty little girl, Harpo mostly admired her spunk and unique talent, particularly because it was presented in such a small package. He offered to adopt the sweet pipsqueak for $50,000-- probably in jest, but with Harpo you never know. Shirley Temple decline the offer and stayed with her biological parents. Whoda thunkit? She could have been Shirley Marx-- part of the act!  But then, she was probably too mature for the rest of that gang.

Shirley feeds her belly, while Harpo feeds her ego.

There's no business like show business and no business so tough. It certainly helps to have a few people on your side, especially when it's family. However, the delightful singing trio of The Andrews Sisters-- Maxine, Patty, and Laverne (right)-- still had to overcome the same hurdles, despite having each other to lean on. Their one-two-three punch wasn't as original a gimmick as they'd hoped either. When staying in Chicago, it just so happened that another triplet of singing sisters were staying at the same hotel. At first, despite the age difference between the two sets, there was a little rivalry. Maxine used to rush to the building's rehearsal space in the morning to secure it for her sisters and lock the other intruders out. However, the ice was broken when the youngest member of the other group, nicknamed "Babe," asked to listen to the Andrews rehearse. Unable to say "No" to the adorable little girl, the sisters agreed. After singing awhile, they in turn asked Babe to offer up a song. When Frances Gumm opened her mouth and belted out "Bill" like nobody's business, the Andrews girls were left with their mouths hanging open. Maxine was so moved, she cried! Immediately, the  rivalry between the Andrews Sisters and The Gumm Drops disappeared and they became fast friends and allies. The Gumms would soon disband, but Judy Garland's voice had no problem going solo.

The Gumm Drops: Mary Jane, "Jimmie," and Judy.

And finally, in recognition of a recent royal wedding: Powerhouse actresses Olivia De Havilland and Grace Kelly were not formally acquainted in 1955. Divided by a generation gap, Grace was but one of the younger actresses in Hollywood who was taking on roles that would have once gone to diva extraordinaire Olivia. There were no hard feelings. Olivia was happily married to husband number two, Pierre Galante, and excited about her new life in France (happy coupled pictured left). However, she hadn't completely waved goodbye to Hollywood and was still active in the biz. Pierre used this to his advantage when, as movie editor of Paris-Match Magazine, he was looking for a good scoop in the featured Cannes Film Festival article. Knowing that Grace had been wooed to the event, he decided to use the aid of his wife, luckily a fellow actress, to arrange a fantastic story: "Hollywood Princess Grace Kelly meets Prince Rainier III of Monaco!" With Olivia as his co-conspirator, the duo offered to show Grace around Monaco, and "oh, by the way," introduce her to the Prince. Grace, who was actually quite bashful, begrudgingly agreed, and Pierre set up the meeting. However, there were scheduling conflicts, and after both parties finally settled on a decent time, Rainier still kept them waiting while running late from another engagement. Luckily, Olivia was there to keep Grace occupied with conversation. Had she not held her, Grace probably would have shrugged her shoulders and returned to the festival. Luckily, just as Grace was rising to leave, Rainier appeared, and offered her a tour of the palace, which she had already seen but out of kindness perused again. Afterward, Grace mildly reported to Olivia: "Well, he's very charming." Mission accomplished. The captured pictures were a sensation and the article was a hit. Little did Olivia and Pierre know that they had not only scored a scoop but had too shot the arrow of love.

Kate and William who??? Grace and Prince Rainier are wed just shy

of a year after their first meeting, thanks to O de H.

BITS OF COINCIDENCE: Part Five

NOW, THAT'S FUNNY: Part II

 Chico, Allan Jones, and Groucho in

A Night at the Opera.

I think I subconsciously created this article category specifically for Groucho Marx. The man was brimming with humor in his film and stage work, and it comes as no surprise that it overflowed into his private life as well. Here are a few of his personal goofs:

Groucho could definitely be a smart-aleck. He was the first to point out and mock the absurdity in the every day occurrence or individual. He especially got a hoot out of taking the elite, higher-ups, or the haughty down a peg or two-- hence his onscreen shenanigans wherein he humiliates and damn near destroys the entire universe of the Upper Class. No one was safe from his witty barbs, not even the paranormal... Grouch' once attended a Madam Zaza fortune reading in Chicago. The audience was, of course, flabbergasted and stupefied by the entrancing realms of the supernatural and the uncanny abilities of Zaza, who could see above the accepted nature of reality. Groucho was not so impressed. Deciding to have a little fun, he merely pretended to play along. Zaza finally came out of a meditative stupor, during which she supposedly communed with the dead, and declared that she could answer any question asked of her. Groucho volunteered first. His question: What's the capital of North Dakota? Zaza's silence definitely diminished her omniscient reputation, and her bodyguards kicked Groucho out!

Groucho was unpredictable to say the least. Friends were used to his jokes and sporadic burstings into song or dance. Whatever he said or did, he was Groucho, so the unexpected was accepted. Hence the following occurrence: Groucho and his pal Sidney Sheldon had plans for dinner one night. Grouch' called Sid to ask how he should dress. Sid replied, "Dress nicely." When he arrived at Groucho's, Grouch' answered the door wearing his wife Eden's clothes! Sid got a big laugh out of it. Unfortunately, Groucho forgot he had another appointment coming over. Suddenly, Bill Dozier and a couple of executives appeared at his door, ringing the bell. Not to be flustered, Groucho answered the door, skirt and all, and invited his other pals in. They sat around and talked shop with no one even batting an eye at his outrageous fashion. After their meeting was over, they shook hands and parted ways. No one ever mentioned the strange phenomenon of his cross-dressing. It was odd and absurd... And therefore perfectly normal. Groucho changed into more masculine attire, and he and Sid went to dinner, as if nothing had happened. (Groucho in drag left with Clark Gable in the Merrie-Melodies cartoon "Hollywood Steps Out" of 1942).

However, Groucho wasn't always the man with the last laugh. There seemed to be one thing that unsettled him... Terrified him, even: Boris Karloff! For the man who seemed impenetrable to almost any dagger or mode of attack, physical or mental, Groucho's fear of the king of horror is perhaps the most absurd thing about him. In his younger days when Groucho was still in vaudeville, he used to block his window with the bureau because of his fear of Karloff and his ghastly cinematic creations. He was afraid that he would wake, spooked from a dream, and jump out of his own window. He also started taking sleeping pills because he was too scared to sleep! Ironically, Groucho would meet the representation of his fears years later, and was surprised to find, as many were, that Boris was a shy and kindly gentleman (seen Boris more in character, right). Though this certainly curbed his fear of Karloff, it did not deter his continued aversion to Frankenstein's monster.

 Though this photo of the Monster was used for a great deal of  

publicity posters, it was not the final representation created

by the make-up wizards. You can tell by the knobs in the forehead,

which are absent in the film.

Another ghoul worth mentioning is Boris's contemporary and constant partner in on-screen crime, Bela Lugosi. Bela (left) was known for hypnotizing his prey, drinking the blood of beautiful women, and sending chills down the spines of theater-goers around the world. However, in his later life, his career was horrific for different reasons. While Boris was able to ride the wave of his B-movie horror career with grace and style, Bela was not so fortunate. His roles in films became sillier and sillier, and his disdain for them only increased his personal problems. Nonetheless, his movies with the notorious Ed Wood remain some of the best of the worst in film history, lasting primarily because of his performances in them. A lesser known film he took part in was The East Side Kids' Ghosts on the Loose. The East Side Kids series revolved around a hard-knock group of young kids who were always causing trouble but were at heart good guys. Think of a pubescent "Our Gang" crew from Brooklyn and you'll get the idea. Bela played the villain in the aforementioned film, in which the boys stumble upon what appears to be a haunted house they're trying to prep for their newlywed friends, (one of whom is a young Ava Gardner). The movie was far from a critical success, which is why it is rarely remembered, but during its time it caused quite a stir. Kids were lining up to see it. Why? Because when Bela Lugosi sneezes at one point in the film, his "Ah-choo!" sounds  more like "Ah-shit!" It was quite le scandale!

 Ernie "Sunshine" Morrison's dusting will soon

produce Bela's sneeze heard 'round the world!

Since I seem to have hopped on some sort of spook-themed rant, I'll continue with a ditty about Jean Arthur, (looking lovely and upbeat, right). Jean was always eccentric to say the least; her shyness severely impaired her social skills. But never would her oddness reveal itself so much as in her later life, when she simply stopped caring. Whether being arrested for trespassing (in attempts to help a neglected dog) or cussing out cops, the girl who avoided headlines all her life was still making them in her late to middle age. Jean loved appreciation for her work, but loathed attention in any way, shape, or form. She often wished she could just walk around with a bag on her head, which is perhaps why while she was performing in the 1967 play "The Freaking Out of Stephanie Blake," she started a trend of wearing a motley assortment of Halloween masks as she was leaving rehearsal. Passersby didn't know what the think, which the smart-ass in her probably got a kick out of. The general consensus was that the dame was a bit kooky... And that is probably an accurate assessment. That's why we love her though.

And a last bit of trivia: Ever wonder where the Academy Award got it's nickname, Oscar??? The source is heavily contested, and with many different theories, it is hard to tell who in fact should be credited with the honor. However, the most hilarious root comes from none other than Academy Award Winning actress, Bette Davis. It is rumored that when Bette won for her performance in Dangerous (left with Franchot Tone)-- which many considered a belated apology on behalf of the Academy for snubbing her Of Human Bondage performance in '34-- Bette inadvertently coined the trophy's moniker. While eying the shiny contours of the well-built golden man, Bette flipped it over and said, "That looks like my husband's ass," or something to that effect. As she was married to her high school sweetheart, musician Harmon Oscar Nelson at the time, his middle name stuck. True or false? I dunno, but it makes a good story. Leave it to Bette to be a part of a yarn like that.

 Bette and Jack Warner enjoy their victory.

NOW, THAT'S FUNNY: Part II

BITS OF COINCIDENCE: Part IV

Ava Gardner (above) has long been labeled as one of the loveliest women to grace the silver screen. In a town full of beautiful girls, it is no surprise that she occasionally came gorgeous face-to-gorgeous face with one of her fellow competitors for the title of "Most Beautiful." One instance goes way back. When she was making her initial train ride to Hollywood in 1941, she was unaware that another MGM starlet was on board: Hedy Lamarr  (below).  However, while LB Mayer let Ava keep her melodic sounding name upon her arrival, Hedy had not been so lucky. When she was first signed at MGM, LB changed her name from Hedwig Eva Maria Kiesler, having decided to name her after Barbara La Marr-- one of Movieville's greatest forgotten beauties. Ava and Eva, who knew? Both girls had been plucked from their native homelands by MGM-- Ava from North Carolina and Hedy from Hungary-- to be made into stars, though Ava was a complete unknown, and Hedy had already appeared in several foreign films (including the notorious Ecstasy). In fact, when Ava first made the rounds in Los Angeles, Jimmy Fidler said she "looked like Hedy Lamarr, only better." Interestingly, the two women would cross paths again after they became famous, this time in Mexico when Ava was on her honeymoon with Frank Sinatra, and Hedy just happened to be vacationing in the same place! It's a small world for Goddesses.

~ ~ ~

A similar parallelism happened to Norma Shearer (left) and another struggling actress. Back when Norma was a model in NY, playing the piano at local movie theaters to get by, she constantly bumped into another ingenue at casting calls. However, while years later people would recall the ambitious and passionate beauty that Norma was even then, they struggled to remember the other girl in their midst: Jean Arthur. Jean (below) was too shy and awkward to draw much attention behind the cameras, but Norma? As photographer Alfred Cheney Johnston put it: "Now... there was an outstanding personality!" The two ladies were very soon off to Hollywood, but they would not share a train. Norma made it out west in early 1923, and Jean followed a few months later. Strangely, people are more familiar with bashful Jean's movies than Norma's these days (thanks to the former's work with Capra and Stevens). Yet, while Norma's acting style seems a bit outmoded in these modern times, the eternal diva lives on in her celluloid kingdom as the dangerous, free-wheeling Prima Donna of her generation.

~ ~ ~

Once upon a time in New York, a young dancer was being instructed on new  choreography for the "Embraceable You" number in her upcoming stage production, Girl Crazy. The man teaching her the new moves was a skinny, scrawny sort of fellow, but he also had a strange sort of charm and an amazing talent to boot. An initial curiosity was sparked, and they went out on a date-- dancing of course. Though they liked and respected each other a great deal, romance was not on the menu. Instead, they went their separate ways, working on their own individual entertainment careers. Years later, they would be re-teamed in a major motion picture in which their dance routines stole the show: Flying Down to Rio. Though the magic never happened between them in real life, in reel life they were electric, and audiences would savor them together on the screen nine more times. They would enjoy one of the most enduring romances of cinematic history despite their lack of attraction those years ago.  Back when Fred Astaire was polishing Ginger Rogers's technique on that NY stage, he had no idea that he had just met his professional soul mate!

Destined to Dance- Ginger and Fred

~ ~ ~

When gifted thespian Judith Evelyn (right) was performing in the play "Craig's Wife" in 1947, she had the privilege of working with a young ingenue whom she found to be quite mature for her years. The young blond was educated, ambitious, patient, and generous with her co-stars-- a real pro. Judith was impressed and was certain that the lovely young lady would carve out quite a career for herself. Of course, she had no way of knowing that the junior actress's notoriety would eventually surpass her own. Years later, the two were reunited on the set of Rear Window, in which Judith played the important role of Ms. Lonelyhearts. When Grace Kelly (below) discovered that her former co-star and hero would be working with her, she invited Judith to her dressing room to share a bottle of champagne and celebrate their reunion. They often met during the shoot to catch up and reflect on old times. Judith found Grace to be as humble and sweet-natured as ever. At least some things never change.

~ ~ ~

Now, for a bit of pre-Halloween spookiness...

Franchot Tone (left)was one of the handsomest leading men of his day. Though he is less remembered than some of his contemporaries, he was certainly man enough to win the affections of Joan Crawford, to whom he was briefly married. He was quite the Lothario-- a charming ladies' man. His position as a famous Hollywood actor only made it easier to impress women. One night in 1944, he was out at the infamous Formosa Cafe when he spotted a beautiful young woman with dark hair and piercing blue eyes. Naturally, he singled her out as his lady of choice for the evening. They got to talking, and he discovered that she was an aspiring actress. She was quite fascinated with him. She asked him questions and was eager to learn how she too could get her own career going. In his head he thought, "This one's in the bag!" Franchot assured her that he could give her some advice, introduce her to the right people, etc. She was eating out of the palm of his hand by the time he got her into his car to meet an "associate." 

They drove to his swanky bachelor pad, and the young lady's attitude changed when she realized Tone had no associate waiting for her and instead had other things in mind. When Franchot tried to put the moves on her, she resisted completely, trying instead to change the subject back to her career. He realized that he had made a mistake. Despite her beauty and gorgeous curves, she was really a naive little girl at heart. She hadn't come to his room for a rendezvous;  she had really hoped to learn something from him. Feeling a bit embarrassed, Franchot dialed things down, and they talked for awhile before he put her in a cab. Less than 3 years later, he would receive quite a shock when he learned that her body was found beaten, mutilated, and cut in half, lying on a patch of grass at 39th and Norton in downtown LA. The papers were calling her "The Black Dahlia." He had known her only as Bettie Short (pictured below). Disturbed by the experience, he probably looked at every woman he tried to pick up a bit differently after that...

Hope your costume hunting is going well! Just two weeks to go!!!

BITS OF COINCIDENCE: Part IV

BITS OF COINCIDENCE: Part Three

One of the things that made Tony Curtis such a committed film actor was the fact that he was an avid movie fan. From boyhood, he sought escape and enjoyment in the seats of the local movie theater. Everything about Hollywood seemed delicious to him: the artistry, the fame, the money, and-- of course-- the women. Imagine his incredible pleasure when years of dreaming and unshakable determination brought him to Los Angeles via the US Navy on his way to Pearl Harbor (his left pic is a later studio headshot). Setting foot in the Hollywood Canteen that night in the early 1940s must have felt like entering the Garden of Eden! (Or should I say, Allah)? Star struck and agog at his surroundings, Tony was especially taken with Gloria De Haven, the sumptuous actress generously making an appearance at the Canteen for the boys that night. 

The brief encounter would prove to be a mere preview of things to come, for it seems that Ms. De Haven could sense the star power in the handsome young officer. Even decades later, Tony can remember the intense and exciting feeling he had when he and Gloria briefly locked eyes from across the room. It was a memory that would keep him warm during the time he spent cooped up in a submarine headed for Guam. Just as the eternal dreamer was able to take his childhood aspirations for filmdom and make them fact, so too did he take this split second with Gloria and turn it into something a little more substantial. The two would be reunited on the set of So This Is Paris in 1955 after Tony had become a legitimate Hollywood actor. Oh, and they would have a heated affair too. The tryst was brief but well-remembered. Tony still recalls Gloria as one of the two co-stars he ever really fell for. (The other was Suzanne Pleshette).

Tony sure could pick 'em!

Tony wasn't the only actor to be flabbergasted in the presence of a movie starlet. Before Rudolph Valentino (looking dapper, right) became the epitome of male sexuality, he was just a struggling actor trying to get by in NYC. One day, he "got by" Mary Pickford, who was dining with her mother at a Manhattan restaurant. Rudy was stunned to see the world's most famous woman a mere stone's throw away, but instead of being tongue tied, he walked right over. He earned brownie points by introducing himself to Mary's mother Charlotte first, and then politely turned his attention to the screen's first diva. Mary was very gracious in accepting his sincere compliments for her work and then patiently gave him advice on how to advance his own career. He clearly listened, and years later Mary probably struggled to reconcile the screen's hottest heartthrob with the humble young fop from her memory. After Rudy had established himself as an actor, the two began running in the same circles. Rudy was a frequent guest at the illustrious Pickfair, although Doug Fairbanks never took too much of a liking to him. Doug liked to be the center of attention after all, and the handsome Rudy was one Hell of a scene stealer.

Little Mary

Rudy was one actor who could return the favor. Just as Mary had been friendly to him when he was a nobody, so too would Rudy always treat those around him as equals. He would emulate the kindness bestowed upon him by the mega-movie-star by lavishing it upon other hopefuls that he would meet in later life. For example, while filming The Sheik, the newly famous Rudy, riding high off the success of The Four Horsemen of the Apocalypse, took note of the many young extras on the set. Most of them were starting out in the business, nameless and faceless, and probably completely starstruck by his presence. To make them feel at home, he allowed several young ladies to take a turn riding his horse as he led it around the set. Two of his riders? An 8 -year-old Loretta Young and her sister Polly Ann, both dressed head to toe in Arabian garb. It made their day! (The three Young sisters are pictured left: Loretta, Polly Ann, and Elizabeth-- a trio of lookers).  Years later, Loretta would remember fondly watching a jovial Rudy ambling around with his guitar and singing between takes. It was quite an experience for a smitten young girl.

Loretta, age 14, during filming of Laugh, Clown, Laugh

 Not all meetings between stars are quite so pleasant. Some are just downright awkward, such as the next case. For some time, Jean Arthur and Greta Garbo were vying or the title of "Most Elusive Lady in Hollywood." Fittingly, the two had never met. Jean (right) was sympathetic to Garbo's plight, feeling that on some level she understood her need for privacy and personal space. She even respected her for it: "Her belief that only her work is important to her public. I feel that way, too." What Garbo felt about Jean is unknown, (as is pretty much everything else that went on in Garbo's head). Feeling an unspoken camaraderie with her Swedish counterpart, Jean volunteered to deliver a package to Garbo on behalf of a mutual friend. After all, Garbo was renting a house nearby. It seemed neighborly. Jean was nervous to finally come face to face with the Great Garbo but was also honored-- and a bit excited-- at the chance of an introduction. 

In typical Jean fashion, her knees began to shake as she approached Garbo's temporary abode, but she mustered up the courage to ring the doorbell. A servant let her in, and she waiting anxiously in the front hall. She looked up to see the devastatingly beautiful Greta floating cautiously down the stairs. After sputtering out an explanation for her presence, Jean quietly handed over the package and watched as Greta turned away and opened it. Inside was a huge diamond pin! Jean's eyes were as big as saucers! After a few seconds of silence, Greta turned back around, looked at Jean and said, "Vy don't you mind your own bizness." She then turned and made her way back upstairs. Shell-shocked, Jean equally turned on her heels and ran out the door. She never had a meeting with Garbo again!

This less-than-inviting gaze is

probably similar to what Jean encountered that day!

Happy weekend! :)

BITS OF COINCIDENCE: Part Three

MENTAL MONTAGE: With a mug like that?!

The empire of Hollywood was built to meet public specifications. We've been spoon-fed love stories, crime capers, and whatever plot seems to suit our current appetite.  Keeping us happy can be quite a racket, and the best of the best like Louis B. Mayer and Adolph Zukor have made millions off predicting our next craving. However,  changing attitudes make the American mind difficult to read, and more than one box-office flop has been made when the big-wigs guessed incorrectly. Just as certain films become surprise hits, different stars also unpredictably climb to fame. Certain actors that were never supposed to make it still manage to capture our attention. When Meryl Streep auditioned for 1976's King Kong, she overheard Italian producer Dino de Laurentis say to a colleague: "She's ugly. Why did you bring me this thing?" Little did he know that this brainy lady could speak his language fluently and understood the jab. While Dino predicted that Meryl didn't have the looks to charm the infamous ape, she still managed to become the most beloved and respected American actress of her generation. Here are a few more cases of the Man in Charge being Wrong as Hell.

When Douglas Fairbanks (left in The Three Musketeers)came out to Hollywood in 1915, the established thespian was placed in very prestigious company. Now working with The Triangle Film Corporation, he was in the prime position of being directed by D.W. Griffith, Mack Sennett, and Thomas Ince. However, the first filmmaker, who was working out of his Fine Arts Studio at 4500 Sunset Blvd, was less than thrilled to be dealing with the overly energetic actor. Griffith would say of Doug: "He's got a head like a cantaloupe and can't act." Now, Doug was never referred to as classically handsome, but his manic charisma endeared fans to him nonetheless, and he went on to star in some of the most epic and technically accomplished films of the silent era. Griffith must have changed his mind about Mr. Pep, whom he later teamed up with to form the independent studio United Artists (along with Chaplin and Mary Pickford).

Fred Astaire received a similar response from a studio executive. When trying to pave his way in the film industry, Astaire struggled. Despite his extreme talent, he was slight of frame and did not possess those typical, leading man looks. No one saw his potential. After an early screen test, the jury was in: "Can't act. Slightly bald. Also dances." The money men were looking so hard for stars that they failed to see one in their midst! No matter, Freddy would do all right. What he lacked in stature, he made up for with indescribable, incalculable presence... And moves!

Some of the handsomest men of their day were also originally flooded with negative feedback. Clark Gable (barely recognizable in the left photo) is still referred to as the "King of Hollywood." Even today, women find themselves falling in love with him. During his hey-day, he could and did have nearly any woman that he wanted, but no one would have predicted that when he first started out. An awkward, Ohio boy, he was a bit of a physical anomaly. "Attractive" wasn't the first word used to describe him, especially with his two gold-plated front teeth, which he constantly had to paint white! When making a screen test for Little Caesar, Darryl F. Zanuck was underwhelmed: "His ears are too big. He looks like an ape." With a little help from the miracle workers at MGM, who fixed Clark's teeth, gave him polish, and cut his hair to hide his protruding ears, Clark would have the last laugh.

Even Rudolph Valentino was shunned when he first arrived on the scene, and today he is revered as one of the most powerful sex symbols of all time. Rudy's problem was a little more complex. Due to the bias against different immigrant groups, including the Irish, Chinese, and Italian, Rudy of Castellaneta was not the prototypical American dreamboat. Italians for the most part, with their darker skin and features, were seen as untrustworthy, even insidious. This made it hard for Rudy to break into the pictures, and he was originally cast in villainous, unsavory roles-- thieves, con artists, and charlatans. No one expected much from him, including (once agan) D.W. Griffith, who said: "He's too foreign looking. The girls will never like him." Seems like D.W. should have stuck to making stars of his women; his taste in men couldn't have been more off! It was exactly Rudy's "foreign-ness" that would make him a huge, dangerously sexual superstar.


The women had a lot to put up with in regard to their appearances, of course-- probably much more than men. In addition to being sized up by studio moguls, who were more concerned about going to bed with an ingenue than casting her in a movie, young women in Hollywood were pinched, powdered, bleached, stuffed, and pushed in front of the cameras with scanty wardrobe. Many were completely made over once the star system was in full effect, becoming unrecognizable transformations of their former selves. There were some sassy ladies that resisted it though, including the following:

Jean Arthur was never comfortable with her appearance. When sizing herself up with other leading ladies of the day like Rita Hayworth and Marlene Dietrich, she felt she didn't quite measure up. Perhaps this was one of the reasons she began dyeing her naturally brunette hair blonde. Studio magnate Harry Cohn was inclined to agree with her reservations, declaring: "D'ja see her face? Half of its angel, and the other half horse." Thankfully, the horse-side must have been invisible to the camera, because audiences never saw it, nor did David O. Selznick, who was madly in love with Jean for quite some time. Despite her insecurity, Jean dug in her heels and decided to prove that she was just as much of a woman as the next hot body. Not only did she refuse to go to bed with the notoriously lustful Cohn, but she made him eat his words. Jean's earthy, soft, and natural beauty became part of her eternal appeal.

Another feisty lady that refused to be bullied was the Irish spitfire, Maureen O'Hara. When first landing in Hollywood after having some success in London, there were a lot of grumblings from the higher-ups. It may come as a shock, since Maureen seems like such a classic beauty, but at the time a lot of argument circled around her nose, which was considered too big. It was delicately suggested that she get a nose-job to make her face more palatable to the movie camera, and thus the movie-going public. This time, it was Maureen who would have the last say: "My nose comes with me. I've got a big square face, and I need my big nose. If you don't like it, I'll go back where I came from." With that kind of passion and strength, it is no wonder that her hot-tempered Mary Kate Danaher of The Quiet Man was so believable. The nose stayed with Maureen, and Maureen stayed in Hollywood, thank Heaven!


The prey of the Hollywood racket seems to come in three categories: the Pawns, the Players, and the Rebels. The metamorphosis of Norma Jean Baker to Marilyn Monroe, both body and soul, still raises the question, "What Price Fame?" Marilyn was sadly a pawn. When Norma Shearer was refused the lead in The Divorcee by her own husband, because she wasn't "sexy" enough, she proved her sensuality by having sultry photos taken. Irving Thalberg readily recanted his refusal, and Norma got the role and the Academy Award as a result! Norma was a player, and she loved the game. As for the rebel category: one actress arrived in Hollywood with a gap between her two front teeth, which she refused to fix. It was part of her and who she was. Instead, she wore a cap in her mouth for all of her films and publicity photos. This was her way of showing that while the cameras rolled, she was Ann Sheridan of Hollywood, but on her own time, she was plain ol' Clara Lou from Texas. 

Ann Sheridan... Ain't nothin' wrong with that.

At the end of the day, it didn't matter how gorgeous a person was or how many categories they hit on the list of Movie Star Must-Haves. The "X-factor" wasn't found in a face, it was found buried within-- that uncanny quality that radiated from certain blessed individuals and reached out to their audiences. This is why, while people may have wanted to shun Valentino, Fairbanks, or O'Hara at first, they were forced to bow down in humility when the public showed them their error with box-office receipts. Jean Harlow was more than her luscious curves; Gary Cooper was more than a pretty face. Clara Bow may have risen to fame by winning a magazine beauty contest, but she wouldn't have maintained her status if not for having "It." It is only in believing in the long-shots and the unique individuals that true gold is found. People want to be shown something they've never seen before. I mean, you've seen one Barbie Doll, you've seen them all. But Clark Gables? They don't come around every day...

There's the Clark we know and love!!! Haha.

MENTAL MONTAGE: With a mug like that?!

CAST-AWAYS: Part Four

In this edition of classic casting decisions, it's all about Jean. Jean Arthur was an interesting actress for many reasons. Her quirkiness was what made her so unique on film, yet so unadaptable in reality. She struggled for many years to find her place in celluloid splendor, but once she was tapped by Frank Capra, her career would be forever changed for the better. The days of B-movie Westerns and flat, uninteresting supporting roles were behind her. With her new star status-- after films like Easy Living and You Can't Take It with You-- came more clout. Jean was never a pushover when it came to her work, but she definitely became more choosy and particular about the films she took on as the years went by. This didn't necessarily mean that she had her pick of any film she wanted. In fact, just as Jean spent her career running from the roles she did NOT want to play, so too would she chase a few gems that seemed to evade her.

The most famous example of this is Gone with the Wind. Believe it or not, Jean was one of the final four in the running for the role of Scarlett O'Hara. This may seem like the most awkward interpretation of the feisty southern belle possible, but Jean had an ace in the hole: David O. Selznick. The two had been lovers prior to his marriage to Irene Mayer, LB's daughter, and Selznick was one of the first people in Jean's life to see some real potential in her. Though their relationship did not work out, David could still attest to the fact that she was a superb actress who had a surprising fire within her, despite her nervous exteriors. It is more probable that Jean approached him about playing the coveted role than vice versa, but it is clear Jean wanted the part badly. While Viven Leigh would later recall that when she put on the wardrobe for the screen test, it was still warm from the last actress, Jean Arthur would wear her own gowns, which she had had specially commissioned. When she learned at Christmas in 1938 that Viv had snagged the role from her and the other finalists-- Paulette Goddard and Joan Bennett-- Jean was so upset that she reportedly burned the negative of her audition!!!

Of course, we all can see that it worked out in the end. Jean's peculiar nature made her stand out from the crowd, which would have made her a good candidate for the saucy southerner, and her looks, which were very handsome but not drop dead gorgeous like Vivien Leigh, would have made her more physically comparable to the written character from Margaret Mitchell's novel, (in which Scarlett was described as "not beautiful"). Her passion and strength were also on par with the written Scarlett, as well as her youthfulness... But she was lacking something that Viv possessed. Perhaps it was more of an outright sexuality. Coquettishness, narcissism, and even a bit of vindictivness were needed in the character. These were things Viv saw and infused into her interpretation, which landed her the coveted role. Selznick made the right decision, for today, you can't imagine anyone else surrounded by that batch of beau at the Twelve Oaks picnic, nor can you imagine Rhett Butler lusting after any other lady.

1939 turned out to be a doubly sour year for Jean. Not only did she miss out on and then have to witness all the hubbub for GWTW, but she then lost another role that she really wanted: Lorna Moon in Golden Boy. Since Jean's talent and technique had been honed on the theatrical stage, it is no wonder that she jumped at the chance of working on Clifford Odet's smash hit when she learned that it was going to be adapted for the screen. Initially, it would seem that the tragic Frances Farmer (right), who had established the role in New York when it premiered, would be offered the role. Unfortunately, a falling out between her and the rest of the company, allegedly because of an affair that she had had with Odets, took her out of the running long before it was even in pre-production. Jean had high hopes but was eventually disappointed when the part went to Barbara Stanwyck instead of herself. 

Though Jean may have been bitter at the time, she could not help but admit, especially later in life, that Babs (left with Golden Boy co-star William Holden) was one Hell of a lady. In fact, when the two were filming their separate television shows, "The Jean Arthur Show" and "The Big Valley," which were in competitive time slots, Jean would stop over to check out the "Valley" set and witness the continued diligence and professionalism of Stanwyck, whom she considered a class act. Barbara was still doing stunts, working all day in top form, dealing with publicity and reporters, and all while succumbing to the effects of emphysema. Certainly, even Jean could concede that Barbara's interpretations and performances throughout her career were something to behold, including her screen steal in Golden Boy.

Of course, Jean was not innocent of the occasional screen-grab either. While many of her greatest successes came from working with Frank Capra, who later considered her his favorite actress, none of the roles she played in his films were shoe-ins. When Capra was casting for his big, break-through movie, Mr Deeds Goes to Town, his leading lady was to be Carole Lombard. Yet another screwball queen, Carole seemed to be perfect for the role of the snappy and jaded Babe Bennett. Carole had worked with Gary Cooper, a former lover, in the film Now and Forever a couple years before, and the two had very believable on-screen chemistry. However, as fate would have it, Carole turned down the role to perform in one of the best films of her career, My Man Godfrey, as Irene Bullock (above with William Powell). She would be nominated for an Academy Award for her performance. Once she was out of the running, Capra was on a quest for a new woman to play the sarcastic newspaperwoman with a heart of gold. Enter Jean. 

Rumor has it that Capra was looking in vain for his leading lady when he happened to step into a screening room that was playing one of Jean's latest films. Immediately, he knew that he had found a diamond in the rough! However, the truth is that she may just have been the next actress on the list at Columbia Pictures. However they found each other, the movie they made was magic. Jean was able to portray just the correct amounts of tough and tender, proving the perfect foil for Gary's Longfellow Deeds, and representing the hardened modern woman whose heart could still be melted by the right man. The movie was such a runaway success that Capra tried to recreate the chemistry for Mr. Smith Goes to Washington. However, this time it would be Coop who would turn down the role of the young senator, leaving the pathway open for Jimmy Stewart. Looking back, it is clear that Capra was very influential in taking the careers of both Jean Arthur and Jimmy Stewart from a simmer to a boil!

Jean and Jimmy discuss politics

 in Mr. Smith Goes to Washington

Jean and Jimmy had worked together previously in Capra's You Can't Take It with You. It was their easy onscreen camaraderie and adorable natures that made them believable as lovers tormented by their conflicting families. Their attraction was equally palpable for the camera, and some say that-- at least on Jean's side-- it was not feigned. You Can't Take It with You was one of Jimmy's biggest films up to that point, and all the girls on the set developed crushes on him. However, it was not always Jean who was set to be his co-star. For a time, it looked like Alice Sycamore would be played by Olivia De Havilland (left), who coincidentally would become romantically involved with Stewart not long after. However, Olivia was working for Jack Warner over at Warner Bros, and he was not about to loan out one of his biggest stars to a rival studio! Thus, Jean and Stewart were left to make the magic together. You Can't Take It with You won over the hearts of its audiences as well as the Academy Award for best picture that year.

Together again, J&J make history in YCTIWY...

(though this was filmed before Mr. Smith)

Through hard work and a little bit of luck, Jean was able to create for herself an unparalleled career, starring in an almost unstoppable string of hits. Say what you will of the lady in person, before the camera, she was a goddess. When you talk about the biggest movies from the 30s and 40s, her name comes up time and again. In her case, it seems that casting was not quite as significant as it was for others, since she elevated every film she was in, dedicating herself to making multilayered and intriguing personalities that shaped the face of cinema forever.

CAST-AWAYS: Part Four