NOW, THAT'S FUNNY: Part VII

Marlene Dietrich was well aware of the effect her sexual wiles had
 on men, and she fully took advantage... especially
when the world was in danger.

One of Marlene Dietrich's more public romances was the one she had with the handsome Douglas Fairbanks, Jr. (left). The two would have a lengthy affair following the death of Marlene's previous lover, John Gilbert. If Doug wasn't intimidated enough by Marlene's continuing devotion to this lost love, he would too have to combat the existence of her still living husband, Rudi Sieber, whom she nonchalantly introduced to him at dinner one night. His attraction and affection for Marlene made him stick around, despite her antics, which were not in keeping with typical feminine standards nor accepted gender roles. In truth, he loved her "modern" ways as much as her warmth. Anyway, he had to get used to her methods fast since she took the reigns at their first meeting. Doug recalled being completely spellbound by Marlene's beauty and lack of vanity, becoming determined to possess her. After escorting her home and trying to figure a suave way to make his move, he came to realize that he was the one being seduced: he thanked her for the nightcap, and she escorted him to her bedroom. Their affair was not always so simple. In order to keep the press hounds at bay, Doug often had to find creative ways to escape from his lover's room without raising suspicion. While both were in London, Marlene was staying at Claridge's. After one particular night of passion, Doug decided-- in order to avoid detection and to protect his lover's honor-- that he should shimmy down the fire escape instead of using the door. In doing so, he tied his coat tails behind his back and slid down... landing right in front of a young "bobby" officer. Luckily, being famous has its advantages. The officer gave Doug a knowing smile and asked, "Rehearsing for your next film, Mr. Fairbanks?" Doug replied with a befuddled affirmative and hailed a cab. Luckily, he was able to get Marlene a room below his own bungalow soon after to avoid such intricate escapes... and embarrassments.

While Doug was intoxicated by Marlene as a lover, he was also smitten with her strength and gumption. She left him astounded on separate occasions when she announced her plans to, in one way or another, prevent world disaster by using her abilities of sexual seduction. When she learned that Edward VIII of England was about to abdicate his throne for Wallis Simpson, she became deeply grieved. She was determined to stop her royal friend from making such an error. She told Doug that she was going straight to the Palace to seduce Edward in order to show him that there were better women to be had than the "homely" girl he had set his sights on. She felt sure that this act of diplomacy would be better for everyone-- England needed him! Not knowing what to do, Doug watched as his lover prepared herself for a night of sexual warfare. Unfortunately, her primping took too long, and by the time she arrived at the palace, Edward was not at home. He married Wallis, and the rest is history. Marlene was not deterred in her international shenanigans (see determined pose, right). With the Nazis rising in power, and war creeping closer, she became increasingly agitated at the United States' refusal to act. So, she let Doug in on another plan. Before Marlene gained American citizenship and publicly declared her disdain for the current German political tide, Hitler wanted her back in her native land making movies for their agenda. Marlene wanted to play the secret agent and agree to come home-- with the stipulation that she be able to meet with Hitler "in private." The context of the meeting was understood. She then planned to assassinate the maniacal leader herself! Fearful for his beloved when he realized her seriousness, Doug pointed out the danger of such an attempt, but Marlene said she wasn't afraid to die. He then pointed out that she would be searched, and any weapons she had on her person would be removed before she could see the dictator. She then declared that she would enter naked if she had to. He finally pointed out that even if she succeeded, it would put the lives of her mother Josefine and sister Liesel in jeopardy, as they still lived in Nazi occupied Germany. This finally changed her mind. But, imagine how different history could have been if she had followed through...

Rudolph Valentino was equally renowned for his effect upon the opposite sex. His mere presence instigated women of all ages to go into a frenzy. He had longed in his youth for fame and prosperity, but as he aged, he came to realize that such privileges also came with a price: like privacy... or the ability to exit a building without being mobbed. Fan attention seemed to reach a fever pitch when he and wife Natacha Rambova started taking their dancing tour across the country (left). On a hiatus of sorts from film while he battled the studios for better roles, better pay, and creative freedom, he and Natacha decided to tango their way through the United States. Needless to say, there was mayhem. Tickets were in high demand for their shows, and in addition, throngs of fans methodically cased whatever ballroom or hotel Rudy was performing or staying in. While coming or going to events, Rudy and Natacha were often stampeded and occasionally had to find special exit routes on rooftops to avoid annihilation. From Arizona to Kentucky, they were woman-handled, and their ears were defiled with the cries of screaming females. He underwent one surprising event after another, including the time one ravenous fan tore her way through his dressing tent to catch a glimpse of his perfect form. Rudy may have been frightened at certain times, but he was always as gracious as possible to his fans. Mostly, he was concerned for every one's safety. While performing in Vancouver, BC, one particular female fan become so overcome by the sight of Rudy, that she fainted. The building manager moved her out of the way so she wasn't trampled and deposited her in Rudy's dressing room where Natacha tried to revive her. After finishing a routine, Rudy entered in all his dashing, costumed glory to check the status of the patient. At that moment, the stunned girl opened her eyes, finding herself face to face with her idol, the Rudolph Valentino. Her eyes bulged, she sighed, and with that she fainted dead away. Again. No news on whether she ever recovered.

Yes, movie acting can be treacherous. But just as hazardous as the public trappings of fame is the danger of human absence... at least in one case. In 1913, Lon Chaney was just carving out a career for himself in the movies. After several months in Los Angeles in extra roles, prop jobs, and bit parts, he struck up enough of a reputation with Allan Dwan to start getting regular gigs in the director's films. He was far from famous, but his face was becoming more familiar, and he was definitely bulking up his resume. So it was that Lon joined the rest of Allan's usual troupe (including Pauline Bush and Murdock MacQuarrie) when they traipsed off to Mt. Lowe to begin filming Bloodhounds of the North. Things were rocky from the beginning, with bad weather and torrential rains that kept the cast and crew isolated and indoors. Allan solved the problem by having the cast and crew rehearse not only for Bloodhounds but for his other upcoming features. Once the mud finally dried, Lon-- who had always loved the mountains-- ventured out with fellow actor Arthur Rosson to breathe a deep sigh of relief in the fresh air. Unfortunately, as familiar as he was with the Colorado peaks, Lon was unfamiliar with Californian terrain, and he and Arthur got good and lost. As day turned to night, and the air grew chilly, the two men must have wondered if they would ever find their way out of the canyons. Thankfully, a search party had been sent to find the adventurous twosome. The sight of approaching friends and rescuers must have been a sight for sore eyes after hours of desolation. After all they mayhem, and with his cast in tact, Allan managed to churn out not only Bloodhounds but also Richelieu and Honor of the Mounted in five days. Lon had a part in all of them and kept much closer company with his comrades for the remainder of filming. (Lon plays the aggressor in another wild landscape with William S. Hart in Riddle Gawne, right. This film in 1919, after years of struggle, would help tip Lon over the edge in popularity before The Miracle Man solidified his fame).

James Cagney: actor, dancer... poet??? Yes, indeed. A tough guy on screen, James had a much more artistic bent in his private life. In addition to enjoying the relaxation that painting brought him, he too was a veritable wordsmith. Years spent with his nose buried in books had equipped him with quite the vocabulary and an ability for melodic recitations. He carried a notebook with him that he often scribbled in, doing the random couplet, limerick, or verse. His areas of lyrical expertise ranged from agricultural appreciation, social preponderance, and aesthetic enjoyment-- Joan Blondell was flattered to hear an original Cagney penned in honor of what he described as her perfect caboose. Occasionally, the poems were comical. Jim had a sudden burst of inspiration when riding in the car one day with his wife, Willie. The two came to a red light, and Jim noticed friend and constant co-star Humphrey Bogart sitting in his own car coming from the opposite direction... picking his nose. Bogie picking a boogey? It was too much for Jim to resist. The next day when Bogie came to work, he found the following verse on his dressing table: "In this silly town of ours,/ one sees odd primps and poses,/ but movie stars in fancy cars/ shouldn't pick their famous noses." Jim received no reply. Not every artist is appreciated in his time. (The duo stand left in The Roaring Twenties).

NOW, THAT'S FUNNY: Part VII

Halloween Spooktacular II

A "boo-tiful" Clara Bow gets in the mood for the Holidays.

This year's tasty greeting of chilly tidings from L.A. La Land comes in the form of the Hollywood Ghost. Just as silver screen souls continue to flicker on long after their deaths, so too do movie stars continue to haunt us in our own waking lives. Apparently, even though fate long ago called "cut," the following immortals choose to keep on living, mugging their way through the after-life, and maintaining their scene-stealing ways. Supernatural celebrity sightings have become almost as sought after as the living kind, and with accumulating stories of ghostly encounters piling up, avid fans often make it a point to visit the places their favorite, famous ghouls continue to haunt. Of course, it could all be tommyrot-- myths and legends built up over time in order to keep our idols close to us-- but then the similarities in various accounts are often a bit too startling to ignore. The locales that various celeb spirits continue to haunt is very curious and definitely indicative of who they were in life. Having never come face to face with a spirit, I can only imagine the exciting, frightening adrenaline rush a lucky (or unlucky) witness gets when encountering the eerie remnants of one they have grown to admire. Whether the fear outweighs the awe all depends on the person.


The Homes:

Errol Flynn (right) was referred to as the "Baron of Mulholland" because of his lush pleasure palace (situated at 7740 Mulholland Dr). The stories of his debaucherous parties and shenanigans are legendary. Though many stories of this Tasmanian's deviltry have been grossly over-exaggerated, the architecture of the building definitely suggested his notorious naughty side: from two way mirrors, to a front door that was really the back door, to wall murals with hidden sexual connotations, Errol always had a way of blending his keen aesthetic eye with his boyish sense of humor. But this home was more than a focal point for Hollywood parties-- it was a symbol of Errol's success, the struggles he had overcome, and the familial comforts he always sought but had trouble either finding or accepting as truth. He adored his home, which he filled with his carefully chosen, masculine decor and his beloved Paul Gauguin painting, "Famille Tahitienne." He surrounded himself with things that made him feel safe and secure; things that made him feel at home. Rumor has it that he did too good a job, for future tenants and guests would occasionally catch a glimpse of the mansion's former master.

The most interesting stories of Errol's continued residence ironically include another Hollywood heartthrob, Ricky Nelson, who moved to the address in 1977. Apparently, Ricky was a fan of the notorious lecher, and got a kick out of it when he had encounters with him. He and his family, including daughter Tracy, were constantly experiencing disturbances, such as loud banging sounds and lights turning on by themselves. One night, Tracy arrived home late. Looking toward the house, she happened to see a male figure staring out the dining room window. She thought it was her father, but when she went inside, she discovered that he was not home. When Ricky called not much later, Tracy asked him about the visitor, to which Ricky replied: "Oh, that's just Errol." After Ricky died in a plane crash in 1985, his surviving family drew the conclusion that Errol had been causing these disturbances to warn his roommate of the upcoming danger. Ricky didn't get the message. After Ricky's demise, the presence allegedly got more menacing. Thus far, there has been no word from Justin Timberlake-- who currently owns the property-- if any other odd occurrences have transpired. Since the original structure was demolished after Nelson's ownership and a new structure built, chances are slim that Errol has stuck around.

Ricky Nelson: soul brother of Errol Flynn.

Rudolph Valentino was equally proud of his Benedict Canyon home at 1436 Bella Drive, which he dubbed Falcon Lair (right) in honor of the unfulfilled film project The Hooded Falcon. The house was a grandiose expression of Rudy and wife Natacha Rambova's notorious passions and exotic tastes. The decor ranged from the oriental to the medieval, and the property housed plenty of room for Rudy's horses and dogs. Rudy became a homebody as he matured and preferred sitting at home by the fire to going out on the town. His home gave him the peace and quiet he needed. Of course, after Natacha left him, the house was also inhabited by bitter memories. Rudy's death in 1926 was a sudden, shocking event to fans and perhaps even moreso to himself. Merely thirty-one years-old at his expiration, Rudy still hasn't accepted the fact that he's dead, and there have been multiple accounts of his presence at his once beloved den. He appears most often in his bedroom and in the former stables. He too has given visitors a creep when they see him peering down from a second story window. Doors are also known to open and shut of their own accord. (George Reeves has also been known to saunter through the halls of his "suicide" house at 1579 Benedict Canyon Drive, ironically wearing his Superman costume, which he continues to bear as his own cross).



The Cemetery:

Some too have reported seeing the ghost of Rudolph Valentino at his gravesite at Hollywood Forever Memorial Park's Cathedral Mausoleum. Strangely, he is often reported as wearing his most famous costume: that of the Sheik. And he's not the only one roaming the stones at this cemetery. Some too claim to see the spirit of the infamous "Lady in Black" still visiting his grave site, as she did for several years until her own death. Also, on the edge of the lake, situated under a large tree, is the grave of Virginia Rappe (left)-- the woman notorious for crying "rape" against Fatty Arbuckle at the St. Francis Hotel in 1921, simultaneously ending his career and Hollywood's pristine image. Virginia actually died from what most scholars now agree was the effects of a botched abortion, which Fatty had nothing to do with. Nonetheless, her death was a tragic one, and the sound of her sobbing can often be heard near her gravestone, where she certainly cries for the film career she never had, the loss of her young life, and the baby she killed. Clifton Webb also has been spotted by his grave in the Abbey of the Psalms Mausoleum. Tucked down a claustrophobic corridor, the eternal man of etiquette, best remembered as Mr. Belvedere, lies in a simple plot indiscernible from his neighbors, identified only by his name. Having suffered through a complicated relationship with his mother as well as a lifetime of meticulously hiding his sexuality from the public, his restless spirit continues to hover about his final resting place. More than one visitor to the this section of the mausoleum has spotted a man in a finely tailored suit and a well-cultivated mustache walking toward them from the far wall, only to disappear as he comes too close for comfort. (Marilyn Monroe has also been reported to visit her own grave across town at Westwood Memorial).

Clifton Webb: still making a statement.

The Corner:

The famous intersection of Hollywood and Vine has also strangely been momentarily possessed by Ghosts of Hollywood's past. A bench that used to sit at the Northeast corner of the intersection was often occupied by a presence many identified as Lon Chaney. Chaney often sat at this very spot during his younger days, awaiting the bus to take him to the studios where he fought against the other hungry extras for work. As famous or as wealthy as he became, it was these lean years that always remained with him: painful years one can never fully shake off. In the future, after he had achieved success, he would pass this bench on his way to work and offer other struggling actors a ride. For years after his death, people would claim to spot him sitting at the stop, and in time the bench was even dedicated to him (see right, with son Lon Chaney Jr in top left). However, it was eventually (and unfortunately for fans) removed, and with nowhere to rest his weary bones, Lon has been seen no more. (At least not there... There are also accounts of him showing up in his Phantom garb at Stage 28 at Universal Studios where he filmed his most famous role in The Phantom of the Opera). Bela Lugosi also had an interesting moment at Hollywood and Vine... while on the way to his own funeral. Toward the end of his life, the actor was constantly taking long walks down Hollywood Boulevard, often stopping to chat with local merchants whom he'd come to know on the trek to purchase his beloved cigars. During his funeral procession,when the hearse passed through this intersection on its way to The Holy Cross Cemetery in Culver City, the driver temporarily lost control of the vehicle, and it swerved toward Hollywood-- though this route was not on the agenda. Many believe Bela was hoping to stop for one last stogie. 

Bela while appearing on Broadway as Dracula: both his

greatest friend and foe. He would be buried

in his cape.

The Restaurant:

Thelma Todd is known to prowl around her former Sidewalk Cafe (left), now home to Paulist Productions, at 17575 Pacific Coast Hwy. A cheerful, easy-going gal in life, the "Ice Cream Blonde's" appearances are never menacing, and her apparition is simply observed moving from room to room or perhaps descending the staircase. The garage where she was found dead, slumped behind the wheel of her car above the cafe at 17531 Posetano Road, also continues to experience disquieting quirks. When Thelma's body was discovered, the car's motor was still running, and the death was initially ruled a suicide by carbon monoxide poisoning-- despite the fact that her face had been clearly beaten in. The structure now appears much as it did when Thelma was alive. It was here that she always parked her car before coming down the long steps to her apartment, which was above the cafe. Today, the Posetano address belongs to another owner who-- as last reported-- uses the garage space for storage. Still, some nights, strange sounds emit from the belly of the house, including the faint sound of a motor running. Some have also recounted the scent of exhaust fumes.

The lovely Thelma in a tragic final photo.

The Hotel:

Clark Gable and Carole Lombard are still remembered as one of Hollywood's favorite golden couples (right). Carole's humor served to lighten the serious Gable's mood, and Gable's stubborn, little-boy-lost mentality induced Carole to mature (at least partly) into a loving housewife. They seemed to be made for each other, and enjoyed their blessed but simple life on their Encino ranch. After Carole's life was cut short on January 16, 1942 in a tragic plane crash, Gable was devastated. Many said that he was never the same; the light in his eyes had gone out. He would survive the love of his life by 18 years, which included two other marriages, until he was finally laid to rest beside her at Glendale Forest Lawn in 1960. However, it is not here that the two reside. Many people claim to see the duo continuing to enjoy dinner and cocktails in the lounge of one of their favorite "haunts": The Lady Windemere, now (The Georgian Hotel at 1415 Ocean Ave, Santa Monica). Various employs have entered the lower level restaurant, formerly a speakeasy-- and thus named "The Speakeasy"--after closing, to find it very much still occupied by a beautiful blond and her handsome partner. However, when they announce that serving hours are over, the figures simply disappear into thin air. (At least they know when to make an exit). In addition, the sounds of disembodied gasps, laughs, or voices saying "Good Morning," are often reported. Clark and Carole may not be completely responsible. This hotel was patronized by many, including Bugsy Siegel and Rose Kennedy, and was popular for its beauty parlor and barber shop as well. (The Roosevelt Hotel is also famous for its plethora of ghostly guests, including Monty Clift and his incessant trumpet playing, Marilyn Monroe's primping in her former mirror, and a mysterious presence and cold spot in the Blossom Room-- home to the first Academy Awards celebration).

"The Speakeasy Room" at The Georgian Hotel-- just imagine the happy

couple in the corner booth.

The Inexplicable:

Carole did a little more haunting on her own. While alive, she became close chums with upcoming comedic ingenue Lucille Ball (right). The two had much in common, including incredible beauty mixed with bawdy humor. Lucy, like many, was crushed by the news of Carole's death, and she missed her friend greatly. There were times she wished that she had Carole's ear to confide in. She particularly craved Carole's sage advice to guide her when things got rough and she felt her career slipping away. When the opportunity to do "I Love Lucy" came up, Lucy was skeptical. Television? Should she do it? What if it tanked? What would happen to her career!?!?! Anxious and full of nerves, she went to sleep, wherein she had a dream that Carole paid her a visit and said: "Honey, go for it!" Lucy listened, awoke, and went on to become the most famous television personality in history. Perhaps, in her sleep, her subconscious simply took the form of her beloved friend; but, perhaps Carole sensed a friend in need from the other side and decided to make a special trip and send a helpful message. Lucy too would go on to a future performance as a ghost. She would allegedly haunt her 1000 North Roxbury Drive home on its last day in existence. While the house was being destroyed, a passer-by happened to catch a glimpse of a flaming red-head wandering around the property. She shook her head, pacing, seeming deeply upset at what was being done to her former abode. She then disappeared around the South corner, never to be seen again... except on the boob tube. 


The Theatre:

To cap off her month as L.A. La Land's star, is Olive Thomas's preternatural tale. Olive (left) called The New Amsterdam Theatre in New York home during her years as a Ziegfeld Follies girl. These were very exciting, important years in her life, which is perhaps why-- after her death-- she chooses to return here rather than Hollywood for her occasional visits. Olive has been seen wandering the building, apparently soaking in memories of past times. Sometimes, she is in her typical, jolly mood; other times, she seems overcome with sadness. On rare occasions, she seems peeved and starts a ruckus. One employee recalled making his rounds on the stage when he surprisingly shined his light on a woman dressed in old-fashioned clothing. He thought she had merely gotten locked in, but when he called to her, she simply smiled, blew him a kiss, and disappeared. When he later compared his vision to a photo of Olive Thomas, he grew pale: it was the same girl! Mostly, Olive appears to men, continuing her worldly flirtations with impish grins and friendly greetings, often calling, "Hey, fella!" She once scared a worker away permanently when she appeared and said, "How are you doing, handsome?" His vanity was not flattered. Olive grew anxious when renovations began on the theater, allegedly becoming more vocal and wandering aimlessly in plain sight. She too has a jealous streak. When reunions involving the surviving Ziegfeld girls occur at the theater, Olive causes some serious shaking of the sets and even makes various light bulbs burn out-- simultaneously. She always appears gloriously bedecked, sometimes even wearing a sash that says "Olive," and at other mournful times, she can be spied carrying a champagne glass-- even the spirits indulge in spirits. She too walks in mid air at an area upstairs where the removed glass walkway used to be. To her, it is still there. It appears that the employees who have the courage to stay have grown accustomed to Ollie and her continued performances, often calling out "Good Morning, Olive" when they arrive in the morning and bidding her goodnight when they leave her alone in the dark with nothing but the stage's "ghost light" to keep her company.

The notoriously spooky Vincent Price lightens the mood with a bit of

dancing while filming The House on Haunted Hill.

In life, nothing is black and white. Does it not, therefore, make sense that there is not simply life and death? That there is a strange shade of gray that serves as a home for those who cannot choose a side? Our Gods and Goddesses of black and white movies seem to think so. Just as on the silver screen, they flicker on, continuing their intangible but effective presence in the world of us normal, living souls. Perhaps, to them, we are putting on the show as they exist behind the scenes, watching and observing, enjoying entertaining passion plays performed by those so unaware. Or maybe they simply continue on as if they never left, soaking in their happiest or most profound personal moments, unable to let go and unaware that they already have. Then, there are those who seem compelled to ham it up, to penetrate that thin screen between actor and passive audience, and jump out and say "Boo! I'm still here." Attention-hungry fame hounds are never satiated. Are our film players still playing with us? Putting on a show for their own amusement? Or are they simply lost and unable to make their final exit? Maybe it would be easier for them to bid farewell if we let go of them. As it is, we continue to be enamoured, hypnotized, and equally haunted by the stars who touch our lives, even after their own have ended. As we invoke their spirits every time we pop in a DVD, it should come as no surprise that they remain close to us. Until we ask them to go, they really have no reason to depart.

Halloween Spooktacular II

STAR OF THE MONTH: James Dean

Hollywood's Favorite Rebel: James Dean

Jimmy, Jimmy, Jimmy... Why'd ya' do it? Over fifty years later, your absence still aches. The whole trouble with legends is that their reputation often eclipses their talent. Just as Marilyn and Elvis tend to disappear behind all of the hullabaloo said about them, so too has Dean become more of a symbol than a human being. I've often been asked, "What's the big deal? Was he really that good?" I reply with a resounding slap and a "You bet your sweet life!" Yes, he was good. My God, was he good. The legacy he left behind is the result of an astounding and almost electric talent, one that set him completely apart from his contemporaries, and history has maintained his power. When he died, many would draw comparisons between his death and that of Rudolph Valentino. The effect was equally profound. As my grandmother Mary Lou put it, "I cried my eyes out." So, to prove my point, ask yourself: What celebrity today would I mourn with a like passion were his life to be suddenly snuffed out? Go ahead, I'm waiting...

Dean woos Julie Harris and the rest of America in his first 

breakthrough role in East of Eden.

You see? James was special. While the eruption of the method actor was spearheaded by the dual force of Marlon Brando and Montgomery Clift, Dean's effect was perhaps even more poignant simply due to his age. It was his youth more than anything else that set him apart. He wasn't that foreign adversary called the "adult"-- someone that kids merely dressed up and pretended to be-- he was the angst ridden young man that they were. He represented their transition: the awkward stage when adolescence strives to become maturity. He was the being we all once were, and whom we had to survive, to reach adulthood. His embodiment of the confusion, rage, and rebellion that was suddenly being awakened in the dormant nuclear family society was one that every teen in American could relate to. He gave adolescence a face and a voice. His performances were both loud and silent, carefully cultivated, yet intensified by sudden bursts of improvisation. While Brando is attributed with creating a physical energy that enveloped the atmosphere, and Clift is the man who more fully brought to the surface the complications of inner emotion, Jimmy was the most adept at using his environment-- becoming a part of it, tangling with it, and moving through it as his own organism. There is not one piece of film where he does not look completely at home, completely attached to his surroundings, even if he is pounding his fists against it. He rests his chin on a wall, rolls on the ground, casually plucks leaves from a tree, or soaks in a burst of oil from the very earth he is rooted to all with equal ease.

Dean and Corey Allen prepare to play a game of chicken, 

because "You gotta do somethin'."

Oddly, in his personal life, Dean seemed to be rooted to nothing and no one except his own mania. His eccentricities were merely a part of what made him so alluring. Just how calculated his manner was remains a topic of controversy. His psyche suffered an early fracture with the premature passing of his mother, whom he adored, when he was but 9-years-old. Just as Gable would endure the ongoing saga of the little boy lost after his own mother's death, so too would James seem to be on a perpetual quest for the severed maternal love for which there is no replacement. Despite the fact that he would mature under the care of his loving aunt and uncle on their Indiana farm, he too would feel the eternal burn of abandonment on the part of his father, who sent him away initially because he was unable to care for him alone and more finitely when he was drafted into the war. Born of this dual loss was the classic Dean penchant for chronic searching. He became a frenetic and curious boy who was fascinated by everything, constantly on the move, competing and excelling at various sports, and raising Hell by speeding around town on his first motorbike. An early and innate gift for mimicry, which kept his peers rolling with laughter, would naturally translate to acting. He never really found within all of these things what he was looking for, but still he continued the hunt.

The classic image of Dean's cool: a car and a cigarette.

His ambidextrous nature would continue into his young adulthood, and while acting became the one thing that he remained solidly faithful to, his insatiable need for information made him thoroughly knowledgeable on a great many subjects: athletics, art, music, foreign languages, etc. He became an unpredictable creature. He would appear at a friend's doorstep with his drums, perform an interlude for a few hours, then abruptly disappear-- usually through the window. He would be full of smiles one moment, joking and laughing, and then become sullen and distant the next. There were two Deans: you either loved him and his idiosyncrasies, or you loathed him and his outlandish tomfoolery. Actually, there were more than two of him... Dean wore so many faces and represented so many different things to his friends that each knew him in a different way. This contributed to the continuing confusion as to just who he really was, including sexually. Friend Martin Landau knew one Dean and swore up and down that "This guy was not gay." College roommate and lifelong friend William Bast knew another Dean and claims that the two had an intermittent sexual relationship over the years. The nature of Dean's relationship with the Rev. James DeWeerd as a child also raises questions, as does the recently released revelation he made to the late Elizabeth Taylor, who claimed he confided to her his molestation by a minister as a youth. On the one hand, you have his deeply romantic love affair with Pier Angeli-- who is popularly recalled as the "one who got away" and whose wedding Dean sat outside, fuming on his motorcycle. On the other, there are the claims of Rogers Brackett-- who acted as a sort of patron for Dean when he was starting out and too claims that the two had a damaging and complicated affair. It is hard to find the clear and definitive line of truth. The theories are as various as the theorizers: he was a homosexual in denial or he was a bisexual that preferred women. People tend to imagine the Dean that they would have preferred. 

One of JD's goals as an actor was to make a Western, a 

hope fulfilled in George Stevens's Giant.

But perhaps this was all part of his plan. In any event, it had no impact on the public's worship. Whatever his sexual nature, he was masculine enough to maintain male respect and adulation, and sensitive and beautiful enough to continue making young girls swoon. His image, the James Dean he created in life and left behind in death, was part truth and part illusion. He tested his audiences in his private life as much as he did on the screen. His crazy shenanigans-- pulling his shirt over his head while he was eating to detract/attract attention, or his casually strolling into a stranger's home to help himself to a sandwich-- were things that he did consciously and unconsciously. He added to his own mystique, later becoming ensnared by the very enigma he had created. He once turned to a friend after being rude to a studio-head and asked, "If you ever figure out why I just did that, tell me will ya'?" Being his friend was, in fact, a challenge. He pulled stunts to push those closest away, trying to see who would remain faithful no matter what he pulled. To this day, no one can say with any certainty who the Hell James Dean was. He remains as the proverbial tree in the woods-- making even those who knew him best sometimes wonder if he even existed at all.

Dean and mechanic Rolf Weutherich prepare for Dean's last drive 

in "Little Bastard."

In the end, it became too complicated for James Dean to be James Dean. His insatiable love for acting, which took him from Los Angeles to New York and back again, had but one foe for the number one place in his heart: racing. Dean loved to drive. Not only did the speed fulfill his craving for pulsating adrenaline and invigorating stimuli, but it gave him escape. Behind the wheel, he was focused, in control, and away from both the madness of the world and his own uncertainties, insecurities, and emotions. It gave him strength, to defy and conquer danger at once. As in all things he tried, he excelled at driving. Many seasoned racers remarked on his "steel hands" and imperturbable focus, but most importantly his total lack of fear. Ironically, he was safer on the fiery and foreboding dirt paths of the racetrack than he was on the open road. A freak accident in 1955 on route 46 claimed the life of a man that fate alone had the power to kill. Herein do we find the popular slogans: "Live fast, die young" and "Too fast to live, too young to die." Dean would have been irked by this legacy. The youths who look up to him, who seek to emulate him by being "complicated," "dark," and "tortured," those who worship his offspring-- Morrison, Cobain, Phoenix-- by mirroring his tragedy, do not understand his passions. Dean hungered for life not death. While he openly admitted an uncanny premonition that he would not make it to thirty, he also was quoted as saying, (when questioned about his daredevil ways), that he would never purposely endanger his life, because he had too much to live for, too much he had yet to do, too much he wanted to learn. Dean was far from "done," and we were not yet finished with him when he was abruptly taken. Sadly, legends can only be born in death. 

Dean became good friends with photographer Dennis Stock, who took this "silly" photo, 

which would become morbidly popular after Jimmy's death.

The legend lives on in the many faces he left behind: the lost puppy you want to nurture, the fidgety rebel who makes you want to defy, and the beam of irrepressible sex appeal that makes you want to do many, many things.

~ ~ ~

In college, one of my professors told me that the scene in which Sal Mineo looks into his locker mirror in Rebel Without A Cause, and sees James Dean's face reflected back at him, is the most written about moment in cinematic history. I believe it. I believe it, because it is perhaps one of the most honest moments ever captured on film. All of us look onto the movie screen waiting to see little pieces of ourselves reflected back, and we look for them in the most beautiful of Hollywood's faces. Since Dean remains one of our most cherished idols, we to this day still look at him and see ourselves. He exteriorized our true demons and yet delivered his performances with a grace, a swagger, and a charm that we too hoped to possess. He was the man of our dreams and the self of our dreams. In trying to become all human beings, he succeeded only in making us want to be like him. He was just cool. Really, damn cool. Had he survived, there's no telling how much further his talent could have taken himself and us. His career, his human interpretation, his voyage had just begun. Oh Jimmy, Jimmy, Jimmy... Why'd ya do it?

James reveals himself as yet another Christ figure, here with 

Elizabeth Taylor in Giant.

Happy May.

STAR OF THE MONTH: James Dean

HOT SPOTS in CA: TCM's Moguls and Movie Stars Exhibit

Moguls and Movie Stars: Nov. 18, 2010

As many of you certainly know, Turner Classic Movies has been playing a very informative docu-miniseries detailing the world of Hollywood cinema from its birth thru the end of the studio system. (The show airs Mondays at 8pm EST). In addition to these seven episodes, TCM also featured a traveling exhibit, which displayed the many different details and artifacts more thoroughly described on the show. This exhibit recently made a pit-stop in Los Angeles as part of its pilgrimage at "The Grove" shopping center in Beverly Hills.  I was able to attend the presentation last Thursday and saw the different pieces, which I share with you now.

Timeline of Innovation

Fairly small, the exhibit still was able to boast some impressive pieces of movie history, most specifically in their large standing timelines, complete with important historical dates, film clips, and varied physical elements from Hollywood's heyday. One very interesting portion revealed the initial visual illusion of the "running horse," which was a primary form of entertainment before actual moving film took hold of the nation.

Casablanca Oscar

One such piece, that I found the most impressive, was an actual check signed by Irving G. Thalberg himself and made out to John Gilbert, one of the most tragically forgotten male stars of silent cinema. To have a piece of paper that passed through the hands of two of the greatest representative pillars of moviedom was quite a sight to see.

Famous Check!

Additionally, there were several movie magazines on display, showing some of the biggest box office draws throughout the years. Watching how the magazine covers changed over time from illustrations to photographs was a very interesting metamorphosis, and altering social attitudes were clearly delineated from cover to cover.

Ga-Ga for Greta

However, the most jaw-dropping portion of the exhibit was the display of different costumes worn by some of the biggest stars in some of the most famous movies of all time: Christopher Plummer's suit from The Sound of Music, Vivien Leigh's dress from Gone with the Wind, Rudolph Valentino's costume from The Sheik, and Marilyn Monroe's sweater suit from Niagara. Seeing these pieces of fashion-- once worn by various legends-- up close and personal evoked two things: 1) The surprise that stars on the silver screen are much smaller than they appear and 2) Pure awe and wonder-- "My God... Marilyn Monroe wore this?" (sigh)

Marilyn's Suit from Niagara

The tour has sadly come to an end, having made stops in New York, Atlanta, Denver, San Francisco, and finally L.A. La Land. It was a real treat to witness it, and I hope that TCM will continue to do such interesting exhibitions in the future. It is always nice to witness first hand the curiously beautiful ghosts of the past in the fast-paced and grueling nature of the present. 

(To view the rest of my pics from the show, go to my Myspace Album, here).

Happy Thanksgiving!!! [From Groucho and all the Stars of LALaLand ;)]

HOT SPOTS in CA: TCM's Moguls and Movie Stars Exhibit