Archive for February, 2013

Emil Jannings and his Oscar

Saturday, February 23rd, 2013

AMPAS HISTORY

Emil Jannings and the very first Oscar for Best Actor

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Clark Gable at the Oscars

Friday, February 22nd, 2013

AMPAS HISTORY

Clark Gable receiving his Oscar for “It Happened One Night”

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Doug and Janet at the Oscars

Thursday, February 21st, 2013

AMPAS HISTORY

Douglas Fairbanks presenting the very first Best Actress Oscar to Janet Gaynor

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Shirley and Claudette at the Oscars

Wednesday, February 20th, 2013

AMPAS HISTORY

Shirley Temple holds Claudette Colbert’s Oscar for “It Happened One Night”

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Mary Pickford in “Johanna Enlists” at Hollywood Heritage

Monday, February 11th, 2013

HOLLYWOOD EVENTS

EVENT REMINDER

Screening at The Hollywood Heritage Museum

Wednesday, February 13th

Doors open at 7:00 pm Film starts at 7:30 pm

“JOHANNA ENLISTS”

1918 Artcraft – Paramount film

directed by William Desmond Taylor

starring – MARY PICKFORD

plus

“100% CANADIAN”

A rare short about Mary Pickford’s

War Bond selling drive during World War I

Douglas Fairbanks, Mary Pickford and Charles Chaplin

during their war bond sales tours during World War I.

The evening also includes an extensive display of photographs, magazines, heralds, programs, lobby cards and other artifacts relating to the career of Mary Pickford, from private collections and the the permanent collection of The Hollywood Heritage Museum.

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To purchase tickets, Click HERE

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Joel McCrea’s beginnings

Friday, February 8th, 2013

HOLLYWOOD BEGINNINGS

How Joel McCrea got his start

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Nearly ruined career when, teamed with Dorothy Jordan, he took her to dinner with the Boss’, who married her

 

By Allan R. Ellenberger

 

When Joel McCrea was 12 or 13 years old, attending the Gardner Street grade school in Hollywood, Ruth Roland was making serials in the hills above Sunset Boulevard. McCrea, who was big for his age, had an ambition to be a cowboy, and used to hang around and watch the Roland troupe in his spare time and sometimes even was allowed to hold the horses.

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A New York stage actor came out to play Ruth’s leading man. His job was to be rescued from some dire predicament by the heroine every reel or so.

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“That guy could act all over the place,” McCrea recalled, “but when they brought on the horses he was scared stiff. That was how I got to ride his horse in a couple shots. They dressed me all up in buckskins, and for two days’ work I was paid $5. Boy that appealed to my Scotch blood! Five dollars for having a swell time. Right then I forgot about being a cowboy and decided I was going to be an actor.”

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But it took McCrea eight years to get his second film job. Belonging to one of the town’s “oldest families,” he mixed with the film crowd and was on speaking terms with most of the celebrities of the early days.

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“But as far as getting a job was concerned,” he say, “it didn’t do me a bit of good. I was invited to dinner at the homes of the big shots and they were always awfully nice to me, but nobody seemed to think I was an actor.”

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At the Santa Monica Beach Club one day, Conrad Nagel and Mitchell Lewis took McCrea aside and tried to persuade him to give up the idea of  acting.

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“Listen, Joel,” Nagel said. “We like you, and we don’t want to hurt your feelings, and we wouldn’t tell you this if we didn’t like you, but you just haven’t got a chance. You haven’t got the stuff. Give it up and go into business.”

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Jack Mulhall happened to overhear them. “Listen, kid,’ he told McCrea, “don’t listen to those birds. I haven’t got anything either, but I’ve been getting away with it for seven years now, and they pay me $3,750 a week at First National.”

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McCrea got his first break, just out of Pomona College, when he bought a trench coat and was so proud of that he wore it all the time, rain or shine, around the RKO lot. He picked up some extra work there. He wore the coat so much that Bill Sistrom, who later became an associate producer, finally noticed it.

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“What do you wear that for?’ Sistrom wanted to know—probably thinking that he had a role that called for it.

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 “Oh, because I like it,” McCrea answered.

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“What do you do around here?’ he asked.

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“I’m an actor,” he told him.

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“How do you know you are?” demanded Sistrom.

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“Well, I would be if they’d give me a chance!” McCrea replied.

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“How’d you like to play a lead? Sistrom asked.

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“I thought the guy was crazy,” McCrea said, “especially when he shoved a script at me and told me to report to George Archainbaud, the director, and tell him I was to play the lead in The Silver Horde (1930).”

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 Archainbaud said no; they already had somebody, and, anyway, McCrea was too big. Sistrom insisted McCrea was the guy for the part and everybody else said he wasn’t and there was a terrific argument but Sistrom out yelled everybody. The next thing McCrea knew he was leaving for Alaska and he had his first major role. He asked Sistrom afterwards how he managed it.

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Louis Wolheim with Joel McCrea in The Silver Horde (1930)

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 “Well,’ Sistrom said, “I’d always wondered how much influence I had around here, so this looked like a good time to find out.”

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It was Louis Wolheim who saved McCrea on that picture. After he’d been yelled at all day for lousy work, Wolheim would jump in and give everybody a hard time for making things tough for McCrea. Then when the day’s shooting was over, Wolheim would really bawl him out.

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“Why, you dumb, lazy so-and-so,” Wolheim told him. Then he would go over the script with McCrea, word by word. A former university math professor, Wolheim was just a natural born teacher.

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Two roles with Will Rogers in Lightnin’ (1930) and Business and Pleasure (1932) boosted McCrea’s popularity after that. Rogers liked him because he could talk horses and cattle to McCrea and the latter could make intelligent answers.

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Winfield Sheehan,” McCrea recalled, “who didn’t know me from Adam, used to see me on the Rogers set, and knowing that I was a friend of Will’s, had his secretary call up RKO every year for three years, one month before my option was up, and offer to put me to work, I think that was the only reason RKO ever kept me.

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After McCrea made Bird of Paradise (1932) with Dolores del Rio, and the gorgeous tan which he had spent years in acquiring got a chance to be immortalized in celluloid, the studio intended to team him with Dorothy Jordan in a series of stories. That was when McCrea came nearest to inadvertently wrecking his screen career. Merian C. Cooper, then production head of RKO, came on the set one day and asked McCrea what he thought of Dorothy. “She’s a swell girl,” said Joel.

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Dorothy Jordan and Joel McCrea in The Lost Squadron (1932)

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“Yes, but can she act?” Cooper asked.

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“I think she can,” McCrea replied. “She’s not as good as Loretta Young,”

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McCrea had visions of the team breaking up. He’d been spending considerable time promoting himself with the various studio bosses who were flashing through there at the time, and was having a hard time keeping up with the changes in executive personnel. He finally persuaded Cooper that he at least ought to get acquainted with Dorothy Jordan, and when Cooper invited him over to dinner one night, Joel took Dorothy with him, after spending an hour or more telling Dorothy that their jobs depended on her making a good impression on the boss.

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When they arrived for the dinner, it was one of those “love at first sight” things. McCrea scarcely saw Dorothy for the rest of the evening; within a week she and Cooper were engaged, and very shortly afterward, married. And there went the McCrea-Jordan team. For eleven months McCrea did absolutely nothing but pick up his pay check each Wednesday. Stories had been bought for him and Dorothy. Every two or three months Cooper would hand him a script, say that Dorothy was coming back to work, ask him to study his part and see what he thought of it. One or two of the stories were finally used for Ginger Rogers. Dorothy Jordan decided to raise a family, instead.

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Merle Oberon, Joel McCrea and Miriam Hopkins in These Three (1936)

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Eventual free-lancing and then a Goldwyn contract followed for McCrea. After attending a preview of These Three (1936), in which he co-starred with Miriam Hopkins and Merle Oberon, he came out and asked one of the boys in publicity department: “Who is this guy McCrea I’ve been seeing? he said. “It can’t be me.”

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McCrea had come a long way since the days when Louis Wolheim taught him dialogue. Known as one of the most unspoiled of the younger celebrities, who didn’t kid himself about the part “breaks” had played in his career. His life as a youngster in Hollywood, growing up with the films, had helped him keep his balance while marriage to Frances Dee and a couple of young sons gave him a sense of responsibility.

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Miriam Hopkins biography update

Monday, February 4th, 2013

MIRIAM HOPKINS

Miriam Hopkins biography–an update

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By Allan R. Ellenberger

 

I thought it was time to give an update on my Miriam Hopkins biography. It’s been several years of research, talking to people who knew her, questioning her family, film historians, going to libraries and surfing the internet. There are probably about three or four more chapters remaining, but then there are the rewrites. There are still four actors that I would like to interview. Does anyone out there know how to contact them?

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DICK VAN PATTEN: In 1943, Miriam replaced Tallulah Bankhead in the Broadway version of The Skin of Our Teeth. I assume that Van Patten, who played a telegraph boy, was still with the show when Miriam joined, though I couldn’t find confirming evidence.

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JOYCE VAN PATTEN: The following year, Miriam appeared in the Broadway play, The Perfect Marriage with Victor Jory. Joyce Van Patten, the sister of Dick, played her daughter.

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SHIRLEY MACLAINE: In The Children’s Hour, Miriam played MacLaine’s aunt. Miriam originally played MacLaine’s role in the original version, These Three. I contacted MacLaine last year and asked for an interview but she refused. She said she was too busy which surprised me. I thought she would be one of the easiest to talk to.

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ROBERT REDFORD: Miriam played Redford’s mother in The Chase. I was told that Redford said that Miriam should have received an Oscar nomination. I’m not sure if that is true but I’d love to find out.

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SALLY FIELD: In her last role, Miriam played a Mother Superior on The Flying Nun, which starred the current Oscar nominee.

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If you know any of the above actors and could put in a good word for me, or if you have contact information where I could write or email them, I would appreciate it.

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My email contact is aellenber@aol.com . More to come…soon. Thank you.

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One of the last pictures taken of Miriam Hopkins (© Allan R. Ellenberger)


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