Posts Tagged ‘Deanna Durbin’

Deanna Durbin Obituary

Tuesday, April 30th, 2013

OBITUARY

Singer-Actress Deanna Durbin Dead at 91

 

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April 30, 2013 |
Variety
by Carmel Dagan

 

Singer-actress Deanna Durbin, who was the highest-paid female star in Hollywood in 1947 but permanently exited the movie biz the next year at the age of 26, has died, her fan club announced Tuesday. The announcement did not give a date or cause of death. She was 91.

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Durbin initially landed at MGM after a successful audition for a part in a planned biopic of opera singer Ernestine Schumann-Heink. She actually made her film debut in the 1936 MGM short “Every Sunday,” with Judy Garland (the two were only six months apart in age), and the opera film was never made. Soon thereafter Universal signed Durbin to a contract.

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Her first film at U was “Three Smart Girls” (remade decades later as “The Parent Trap”). That big box office hit, in which she played the perfect teenage daughter, paved the way for many more of the same, and Durbin was credited with saving the studio from bankruptcy. The film was also Oscar nominated for best picture.

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During the production of “Three Smart Girls,” Durbin began a regular gig on Eddie Cantor’s radio show that would last for two years, until she became so busy at Universal that she was unable to continue on the radio; just before “Three Smart Girls” was released, the actress, just turning 15, began recording for Decca Records.

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Also in 1936, the very-busy Durbin was offered an audition with New York’s Metropolitan Opera, which she turned down because she felt she needed more training.

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Durbin’s next three films were all stunning successes: “One Hundred Men and a Girl,” “That Certain Age” and “Mad About Music.” In these first, highly profitable films, Durbin worked with director Henry Koster and producer Joe Pasternak.

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In a fashion that would seem all too familiar today, Durbin soon became a highly profitable property generating multiple revenue streams: There were Deanna Durbin dolls, Deanna Durbin dresses and Deanna Durbin novels in which a fictional Deanna solved mysteries in the manner of Nancy Drew.

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In the 21 films she made for Universal (including two sequels to “Three Smart Girls”), she would usually sing a few songs ­ some new material plus some arias from operas. The era of the original soundtrack album had not quite arrived, so she would record the same material in the studio for Decca. (Interestingly, only one of her songs made the charts.)

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Durbin’s lyric soprano was said to be light, sweet and unaffected.

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In addition to Durbin’s talent, the key to maintaining this success was mountains of publicity, which the studio and the press happily provided, as when the latter fawned over Durbin’s first screen kiss in 1937’s “First Love.”

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In a reflection of her huge success and impact on showbiz, Durbin, along with Mickey Rooney, was presented with a special Academy Juvenile Award in 1938.

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Indeed, she was a success overseas as well as domestically. Anne Frank famously hung a picture of Durbin on the wall of the attic in which she and her family were hiding from the Nazis. She was also a favorite of both Winston Churchill and Benito Mussolini.

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A blogger on the Amazingdeanna site describes Durbin’s film career has dividable into three overlapping eras: “the adolescent years, from which comes the perky (and profitable) Durbin formula of youthful tenacity and pluck; the post-adolescence/struggle era, where the now-grownup star fights for mature material and sometimes wins; and the resignation years, when Universal’s movie veteran ­ weary over the struggle for challenging scripts ­ essentially gives in to whatever work is offered.”

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Her partnership with director Koster and producer Pasternak ended with 1941’s “It Started With Eve.” Pasternak left Universal for MGM, and U suspended Durbin for several months for refusing to appear in “The Lived Alone,” which Koster was to direct. Durbin ultimately won from Universal the right to approve her directors, stories and songs.

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In addition to her increasing dissatisfaction over her films, Durbin was essentially a private person never comfortable with her ultra-public role as a movie star.

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Durbin became disillusioned with Hollywood by the mid-’40s, particularly after the release of 1944 film noir “Christmas Holiday,” which disappointed at the box office. This adaptation of a W. Somerset Maugham novel was her attempt to become a serious actress. Another disappointment was the 1945 whodunit “Lady on a Train,” which did not draw the kind of reception her earlier musical comedies had generated.

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In 1950, she married her third husband, Charles David (who had directed “Lady on a Train”) and moved to Normandy, France, and thereafter remained out of the limelight.

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She was tempted to return just once, for “My Fair Lady” on Broadway in 1956, but she resisted in the end.

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Born in Winnipeg, Edna Mae Durbin moved with her British-born parents to Hollywood when she was just a year old. She began work with a singing teacher at age 10.

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After decades of refusing to speak to the press, Durbin granted an interview to David Shipman in 1983.

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“I did not hate show business,” she told him. Speaking in particular of her last four films, she added, “I was the highest-paid star with the poorest material ­today I consider my salary as damages for having to cope with such complete lack of quality.”

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She is survived by two children: Jessica (from her second marriage to Jackson) and Peter (from her union with David).

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Universal Studios, the Laemmle years, 1912-1936…

Saturday, September 15th, 2012

FILM HISTORY

Universal Studios, the Laemmle years, 1912—1936…      

 

 

 

 

By Allan R. Ellenberger

 

The 100th anniversary of Universal Studios was celebrated this year (April 30) thus making it the first of the major Hollywood studios to achieve that impressive longevity. The story of Universal, especially the years of Carl Laemmle’s control, is typical of the industry and carries a recognizable theme that reverberates through all American business successes.

 

 

 

 

When Carl Laemmle arrived in New York at 17 years-old, he had $50 and a telescope valise packed with only a few personal items from his home in Laupheim, Germany. From there he headed west like many other immigrants and found odd jobs in stores, factories, working as a farm hand in South Dakota, as a bookkeeper in Chicago and as the general manager of a department store in Oshkosh, Wisconsin. Twenty-two years later, Laemmle had saved a capital of $2,500 and started on his next venture.

 

Laemmle had returned to Chicago where he waited in line for the new sensation, the motion picture shows, which was shown in a store converted to resemble the interior of a railroad coach; the motion picture representing scenery was viewed from the rear of a train. Laemmle was astonished at the long line of people willing to pay a dime for this privilege and envisioned the possibility for a new money-making opportunity.

 

With the assistance of R. H. Cochrane, a young Chicago advertising man, they acquired a store on Milwaukee Avenue where he opened the White Front Theater on February 24, 1906 (it had been the White Front store and the sign served as a name for the theater). It was on a Saturday night and he gave patrons fifteen minutes of movies and a song with beautifully colored slides. On Sunday he ran twenty shows. At five cents a head his gross for the two days was $192.05. That was the beginning of a long association with Cochrane who later became a vice-president of Universal.

 

A second theater was soon opened and from that point Laemmle entered all branches of the rapidly expanding motion picture industry. This new success brought him into conflict with the larger interests in the industry. After breaking with the Patents Company, which owned most of the patents on cameras, projectors, etc. he announced he would produce his own films. The Independent Moving Picture (IMP) Company was formed. Its first film, Hiawatha, was released in October 1909. IMP has been given the credit for introducing the star system to Hollywood, when it signed the Biograph Girl, Florence Lawrence, and billed her name above the title of her pictures in 1910. Over the next three years Laemmle battled Edison’s motion picture trust which was followed by a federal investigation, leading to the termination of the General Film Company.

 

The Universal Film Manufacturing Company was founded on April 30, 1912, and was composed of six of the leading independent producers. The name Universal was given, according to Hollywood legend, when Laemmle was presiding over a pretentious gathering of independent film producers in his office overlooking Union Square to decide upon a name. After glancing out the window at the Broadway traffic, with the usual flourishes, gave the designation—Universal. He had seen the name, it is said, on a delivery wagon marked “Universal Pipe Fittings.”

 

Following other film producers, by the end of 1912, Universal was making most of its films in Hollywood on the northwest corner of Sunset and Gower. During the first year of the studio’s operation, 250 films were produced, mostly two-reelers.

 

As Laemmle and Universal prospered, he purchased a former chicken farm, the 230-acre Taylor ranch on the banks of the Los Angeles River five miles north of Hollywood. The land was part of the ancient Rancho Cahuenga de Ramirez and on the property where General John C. Fremont and Pio Pico signed the Treaty of Cahuenga.  

 

 

 

 

Formal dedication of the studio on March 14, 1915, was an affair heralded by posters in railway stations throughout the country. Exhibitors were brought here by special trains to witness the ceremony. Laura Oakley, Universal City’s female police chief, presented Laemmle with a golden key and he officially unlocked the huge front gate of the studio as bands played. Flags were unfurled and a cheering crowd of 20,000 jammed Lankershim Blvd.  

 

 

 

Carl Laemmle and friends at the opening of Universal City in March 1915

 

Universal City came into existence and the studio was created as a small city with a population of nearly 300, with its own post office, fire department and police department. Children have been born on the lot and men and women have died there. Virginia Richdale Kerrigan, the daughter of William W. Kerrigan, one-time manager of Universal and the twin brother of actor J. Warren Kerrigan, had the distinction of being the first baby born on the Universal lot in 1915. Tragically only nine years later, Virginia’s dress caught fire at a Christmas gathering and she died from her burns.

 

Many of the 300 Universal employees lived in houses on the lot when the studio was opened in 1915. Some merely converted sets into practical living quarters and others just camped. Most of the actors had horses, for Universal was the home of the Western, which provided the studios bread-and-butter in the first two decades. The players with horses carried saddle bags in which were stuffed two uniforms. Sometimes they would appear in the mornings as Indians and after lunch, once the Indians were defeated by the cowboys, they would switch costumes and chase the images of themselves.

 

 

 

The above and following two photos were taken on a visit to Universal Studios in 1916 (Courtesy of Allan Landman / © Hollywoodland 2012)

 

 (Courtesy of Allan Landman / © Hollywoodland 2012)

 

 (Courtesy of Allan Landman / © Hollywoodland 2012)

 

One day in 1916, Harry Carey, one of Universal’s early western star attractions, was leading a bunch of cowhands down Broadway when the whole group tired of the script. Just for fun, and the undying mortification of the city’s budding social set, Carey and his dusty mounted troupe, rode up the steps and into the lobby of the stylish Alexandria Hotel.

 

Many stories of early Universal were based on nepotism, for there it thrived. Several Laemmles changed their names so that strangers wouldn’t get the impression they were there only because they were related. Some made good, others did not. But Uncle Carl, as he was known in the industry, never fired one of them. Ogden Nash, the poet, said the following about Laemmle’s habit of giving top executive jobs to family members: “Uncle Carl Laemmle has a very large faemmle.”

 

Laemmle’s greatest pride was for his son, Carl Laemmle, Jr., who was originally named Julius after his grandfather in Germany. But when the senior Laemmle made him general manager of Universal on his twenty-first birthday, Julius became Junior.

 

Something else that Laemmle loved was gambling. High-stakes poker games with such cronies as Joseph Schenck and Sid Grauman would last all night and when the local action slowed a bit, Laemmle thought nothing of taking quick trips to Agua Caliente, the Mexican forerunner of Las Vegas. One night he lost $10,000 there. In one weekend, he lost three times that.

 

Universal Studios was the site of a number of industry firsts—Laemmle established the first European exchange for independent American films; he built the first electrically lighted stages so he would not have to depend on sunlight, and produced the first $1,000,000 feature, Foolish Wives (1922), directed by Erich von Stroheim, who the studio billed as “the man you love to hate.”

 

Many famous names in Hollywood history served at one time or another on the Universal lot. On it Charlie Chaplin courted Mildred Harris and Wallace Reid won Dorothy Davenport. John Ford and William Wyler (a Laemmle family member) received their early training at the studio—on Harry Carey westerns and farces with Laura La Plante. Such films as Phantom of the Opera (1925) and Hunchback of Notre Dame (1923), both with Lon Chaney; Showboat (1929 and 1936) and the Academy Award winner, All Quiet on the Western Front (1930) were made there. The studio launched the comedies of the 1930s with My Man Godfrey (1936) and introduced Deanna Durbin as a 14-year-old singer in her first great success, Three Smart Girls (1936). The studio also produced such classic soap operas as Magnificent Obsession (1936), Back Street (1932) and Imitation of Life (1934), the same titles that turned out to be box-office hits in the 1950s in remakes refurbished with color. And of course, there are the famed monster films which include Frankenstein (1931), Dracula (1931), The Mummy (1932) and The Invisible Man (1933).

 

 

 

 

All studios were famous for their publicity stunts, but one at Universal had repercussions for many years to come. For the film, The Black Cat (1934), an adaptation of an Edgar Allan Poe story, the studio advertised a county-wide contest for a cat to play the title role. Every child in town showed up. By the time the pre-selected winner was announced, cats were loose everywhere. Few chose to return home, and for decades (and possibly to this day) the studio lot teemed with their descendants.

 

 

 

Cast of Show Boat–Irene Dunne, Allan Jones, Charles Winninger and Helen Westley

 

The Laemmle era came to an end in 1936 when the studio produced a lavish remake of Show Boat, featuring several stars from the Broadway stage version. Carl Jr.’s disturbing spending habits, the studios attempts at high-quality productions and the costs of modernizing and upgrading during the depression brought about their decline and being placed into receivership. Stockholders demanded that the Laemmle’s take out a loan from Standard Capital Corporation to make Show Boat, using the family’s controlling interest as collateral. When production problems created a huge overrun, the loan was called in and Universal could not pay. Standard foreclosed and seized control of Universal. Ironically when Show Boat was released it was a financial success but it was not enough to save the Laemmles who were forced to leave the studio on April 2, 1936. Carl Laemmle died three years later at the age of 72.

 

Despite low periods in its history, Universal Studios has survived. Over the past seventy-plus years Universal has had several owners and name variations. It is the debris from the Laemmle years, 1912 to 1936, that saw hundreds of films made on the 230 (and eventually 410) acres and that form most of Universal today. It doesn’t look much like a chicken farm any more.

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