Platinum Blonde and Beyond

It was her trademark, her calling card and, in 1931, the name of a film for which she received third billing. Platinum Blonde had originally been intended as a vehicle for top-billed star Loretta Young but, by the time it was released, the film's title had changed and changed again until it was an outright reference to pale-haired co-star Jean Harlow. It was not Harlow's breakout picture, that had come with Hell's Angels (1930), nor is it generally cited as one of her great classics, but Platinum Blonde was pivotal - it proclaimed her stardom.



The Public Enemy (1931)

In 1931, the 20-year-old starlet was still under an oppressive five-year contract with Howard Hughes, producer/director of Hell's Angels. She had proven her appeal in the film, but Hughes had no projects in the works for her and most Hollywood insiders believed he was mismanaging her career. Harlow's then-friend/future husband Paul Bern arranged for her loan to MGM for The Secret Six (1931) an underworld drama with Wallace Beery and not-yet-famous Clark Gable. Immediately after, she was loaned out to Universal for an unsympathetic role in The Iron Man (1931), a boxing drama with Lew Ayres. While still on that project, she went back to MGM for retakes on The Secret Six and began work on her next film, this time on loan to Warner Brothers for the gangster classic The Public Enemy (1931), with James Cagney. Her fourth film in five months was for Fox, Goldie (1931), a comedy with Spencer Tracy. Of these films only The Public Enemy was an unqualified hit, and it was a blockbuster, but it was Cagney who became the overnight star...Harlow's allure was noted, but her performance was widely panned.

With an assist from New Jersey mobster Abner Zwillman who was involved with Harlow, a two-picture deal with Harry Cohn at Columbia Pictures was secured. Zwillman made sure the actress earned quite a bit more than what she eked out from Howard Hughes. Harlow's first film for Columbia was to be called "Gallagher" and was one of several films of the emerging "newspaper" genre. It was a romantic comedy about an everyman reporter who falls for a high living socialite and is blind to the love of his best friend and fellow reporter, a gal pal named Gallagher.

Loretta Young

Contracted to star as Gallagher was luminous Loretta Young, already a movie veteran at only 18. She'd started in pictures at age four with an uncredited bit part as a "Fairy" in The Primrose Ring (1917) starring Mae Murray. At eight she'd appeared as an "Arab Child" in Valentino's The Shiek (1921) and at 15 co-starred with silent screen legend Lon Chaney in Laugh, Clown, Laugh (1928). In 1929 she, along with her sister Sally Blane, Jean Arthur and others, was named one of Hollywood's "WAMPAS Baby Stars." By the time she came to "Gallagher" Young had already appeared in more than 30 films.

"Gallagher" had begun as an assignment for director Edward Buzzell (At the Circus, Go West, Song of the Thin Man, Neptune's Daughter) and development of the project was nearly complete by the time Frank Capra, then a promising director at Columbia, took over.

Harry Cohn and Frank Capra

Capra was on his way up in 1931, but still a few years away from the Oscar nominations and wins that would characterize his career. He had been scheduled to make Forbidden with Barbara Stanwyck but that project was shelved for the time being and he moved on to "Gallagher." Comparing the filmographies of Buzzell and Capra, this was fortuitous.

On loan to Columbia from RKO-Pathé to co-star in Forbidden was recent Broadway-to-Hollywood transplant Robert Williams. With that film on the shelf, Williams was cast as the male lead, a down to earth newspaperman and charmer named Stew Smith, in "Gallagher."


Harlow and Williams

 Williams had been on the New York stage for nearly ten years when Hollywood beckoned. He'd starred in a great hit of the era, "Abie's Irish Rose," the longest running play in Broadway history up to that time. In 1930 he was cast in Donald Ogden Stewart's "Rebound," which was just a moderate success. But sound had  permanently arrived, and Hollywood was desperate for stage plays, actors and writers. When RKO-Pathé bought the film rights to the play, Williams repeated his role in Rebound (1931) opposite Ina Claire. He was quickly cast in two more productions, The Common Law (1931) with Constance Bennett and Joel McCrea and Devotion (1931) with Ann Harding and Leslie Howard, and was considered "a new comedy sensation" when tapped for "Gallagher."
 
Another noteworthy contributor on the film was screenwriter Robert Riskin (It Happened One Night, Mr. Deeds Goes to Town, You Can't Take it With You, Lost Horizon) who, though credited only with the dialogue, reportedly penned the script that had captured Capra's attention early on. The combination of an appealing cast, an up-and-coming director along with well honed writing, delivered a box office hit - and a film that has been called Capra's most underrated.

By the time the picture was screened for its final preview audience, it had been retitled "The Gilded Cage," referring to protagonist Stew Smith's predicament and shifting focus from the Gallagher character. At the same time, a PR-fueled craze for peroxide-blonde hair swept the country and further heightened interest in bombshell Jean Harlow, recently tagged "the platinum blonde." Within a week of the last preview, the film had a new and lasting title, Platinum Blonde, though the plot had nothing to do with haircolor...

With Platinum Blonde Harlow became a star. A few months later The Beast of the City (1932) brought her first consistently good reviews and in April 1932, aided by the maneuvering of Paul Bern and Irving Thalberg, she signed a seven-year contract with MGM. Her first film for the preeminent studio was Red-Headed Woman (1932), and it was tailored to her style and personality with added emphasis on humor to soften the perception of overt sexuality. Jean Harlow made 13 more films for MGM, all of them popular, several of them classics, and was a top Hollywood star for the rest of her short life.

Loretta Young's acting career covered more than 75 years, but her ascent to stardom only began in earnest when she signed with 20th Century Fox in the mid-'30's. She won a Best Actress Oscar for her performance in The Farmer's Daughter (1947) and later won three Best Actress Emmys for her 1950s TV anthology series.

Capra and Riskin went on to make a string of classic films together. It's significant that the primary characters and themes of Platinum Blonde would be revisited and refined in their later collaborations. The two men next worked on American Madness (1932) and then came Lady for a Day (1933) bringing Oscar nods to each of them. It was the following year, with It Happened One Night (1934), that Capra's and Riskin's reputations were made. The film won five Oscars, including Best Picture, Best Director and Best Writing/Adaptation. In his career, Riskin was nominated for a total of five Oscars, all were for Capra films. Capra was nominated for six Oscars and won three; all winning films were those on which he'd collaborated with Riskin. Their first success working together had been Platinum Blonde...

Robert Williams


I realized on first viewing Platinum Blonde that the standout performance and the heart of the film was the male lead. I wondered who Robert Williams was and why I hadn't seen his name before. He was enormously talented, facile, charismatic...and attractive enough to make the grade - yet I'd never heard of him. There was a very good reason.

When Platinum Blonde opened Williams received glowing reviews. He must have realized that he was about to break out, but he had little time to enjoy his new caché. Just as the film was opening, Williams took a trip to Catalina Island, a popular getaway for Hollywood folk in those days. While he was there his appendix ruptured and by the time he managed to return to the mainland and go into a hospital he'd developed peritonitis. He underwent surgery but died on November 3, four days after Platinum Blonde's release and on the same day Variety singled out his performance and predicted a promising future.


There isn't much available on YouTube from Platinum Blonde, but the scene below provides a moment of pre-Code mischief (if some of the dialogue seems politically incorrect remember, this film is 80 years old)...

TCM will air Platinum Blonde on Tuesday, March 29, 11:30pm Eastern/8:30pm Pacific

Loretta Young, Robert Williams, Jean Harlow

Darrell Rooney and Mark Vieira's new book Harlow in Hollywood: The Blonde Bombshell in the Glamour Capital, 1928 - 1937 (click here to learn more) is scheduled for release in  March from Angel City Press.

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For the Love of Film (Noir): About Ida Lupino

This review was part of the For the Love of Film: The Film Preservation Blogathon to benefit the Film Noir Foundation.

One of the great dames of film noir, and quite a bit more, Ida Lupino was born in London in 1918. Her father was Stanley Lupino, a star of the West End stage who wrote many of the productions in which he appeared. Lupino Lane, an important British music hall star, was a cousin. And Ida's mother, Connie, was an actress. Of her father Ida Lupino once said, "I knew it would break his heart if I didn't go into the business," and so she did, even though her first love was writing.

Her first credited film was Allan Dwan's Her First Affaire (1933). It was an ingenue part and an inaccurate industry myth had it that her mother read for the part but lost it to young Ida [thanks to Jean Howard for clarifying this]. In any case, the role led to several screen appearances in quick succession. By year's end she was signed by Paramount Pictures and headed from London to Hollywood.
 

The Adventures of Sherlock Holmes

She was to star in Alice in Wonderland, but that didn't pan out. Only 15, Ida seemed mature beyond her years and lost the part. She made several mostly forgotten films, endured a battle with polio and resumed her career. With The Adventures of Sherlock Holmes (1939) she was noticed in a role that provided an opportunity to demonstrate her range. William Wellman's The Light That Failed (1940) was her first real break. Though no one had wanted her in a part considered unsympathetic, Lupino pursued the role and in the end it brought her fame.

She soon moved on to Warner Bros. and it was here her reputation as a dame-of-noir began with her fiery performance as Lana Carlsen in They Drive by Night (1940). High Sierra (1941) and The Sea Wolf (1941) quickly followed and her value to Warners was established. However, with Bette Davis the reigning queen of the lot, Ida Lupino was frequently assigned films the great star had passed on. Referring to herself as "the poor man's Bette Davis," she spent a good amount of time on suspension from the studio for refusing roles she considered unworthy. Fortunately, she accepted the part of driven, manipulative Helen Chernen in The Hard Way (1943); for her performance she received the New York Drama Critics' Best Actress Award.

During this time, Lupino was married to actor Louis Hayward (Anthony Adverse, The Man in the Iron Mask). Hayward enlisted in the Marines at the onset of World War II and commanded the photographic unit that filmed the battle of Tarawa (November 1943). The film won a Best Documentary Short Subject Oscar but the experience of the bloody four-day battle left Hayward badly shell-shocked and the couple split up.

Although Lupino's acting career continued, it was during a lengthy studio suspension in the mid-'40s that she started thinking seriously about directing. She married producer Collier Young in 1948 and in 1949 they put together an independent production company called Emerald Productions, later rechristened The Filmakers.



Ida Lupino, director

 The company's first effort, Not Wanted (1949), featured a screenplay by Ida Lupino and was to be directed by Elmer Clifton. A few days into shooting Clifton suffered a heart attack and the actress stepped in to finish the film (but gave the credit to Clifton). Co-starring with Sally Forrest, a young actress Lupino would tap again, was Leo Penn an actor/director now best known as the father of Sean Penn. The film, like most Lupino directed, broached a ticklish subject for the time - unwanted pregnancy.

Three low-budget, Lupino-directed classics came out of The Filmakers: Hard, Fast and Beautiful (1951) with Claire Trevor and Sally Forrest, The Hitch-Hiker (1953) with Edmond O'Brien and William Talman and The Bigamist (1953) with Edmond O'Brien, Joan Fontaine and Lupino herself. In the meantime, Lupino also co-starred with Robert Ryan in Nicholas Ray's powerful On Dangerous Ground (1952) and reportedly directed some of the film while Ray was ill.

By the time the last three Filmaker efforts were produced, Ida Lupino and Collier Young had divorced. Lupino married actor Howard Duff not long after. In 1954, The Filmakers dissolved but Lupino later found herself in demand to direct for TV. Over the next few decades she directed dozens of episodes for series television, including "Alfred Hitchcock Presents, "The Twilight Zone" and "The Untouchables." At the same time she continued to act in film and on television; she and Howard Duff starred in a very popular TV series, "Mr. Adams and Eve" from 1957 - 1958, and Lupino was nominated for Best Actress Emmys for both seasons of the show.


Ida and Steve in Junior Bonner

 Busy with television, Lupino directed only one more theatrical film, The Trouble with Angels (1966), a comedy starring Rosalind Russell and Hayley Mills. She didn't appear in many films at this point, but her later film career included an exceptional turn as Steve McQueen's mother in Junior Bonner (1972).

Onscreen, Ida Lupino was an edgy combination of tough and tender and is remembered as one of the legendary actresses of film noir.

Behind the camera, she developed a hard-boiled, suspenseful style while working on tight schedules with small budgets. Today she is not only honored as a pioneering "woman director," but is also an acknowledged auteur of the early 1950s.

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My own introduction to Ida Lupino came long ago by way of the flickering box in our family living room. High Sierra, The Sea Wolf and Road House (1948) aired regularly on TV in those days and the bruised but determined characters that were her stock in trade got my attention. Of those three films, it was in Road House that she most stirred my imagination. Her character, Lily, is a been-around-the-block torch singer who attracts more than a crowd at the out-of-the-way road house where she performs. Though Lily has a hard luck past and more pain to come, this time Lupino’s character is the locus of a romantic triangle and she commands much of the film - which is saying something with a co-star like Richard Widmark. And there is the added attraction of her singing - in her own dusky voice - two torch classics, “Again” and “One for My Baby.”

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For the Love of Film (Noir): Renoir, Ryan and a splash of vodka...

This review was part of the For the Love of Film: The Film Preservation Blogathon to benefit the Film Noir Foundation.

San Francisco's annual film noir festival, Noir City 9, ran for ten days at the end of January. From all reports the festival, an event that showcased 24 films, was a great success. I would say, from my own experience, it was a smash.

Elisha Cook, Jr. in Stranger on the Third Floor

My first blog on the festival covered opening night, a double bill featuring High Wall (1947) and Stranger on the Third Floor (1940). The evening included a torchy performance by songstress Laura Ellis, special guest Judy Wyler Sheldon, daughter of director William Wyler and actress Margaret Tallichet (one of the stars of Stranger on the Third Floor) and a riveting Serena Bramble montage of films noir/neo-noir/crime set in San Franciscco. Hosting the festival was Film Noir Foundation founder Eddie Muller, "czar of noir," the perfect emcee for a serious noirfest.

On January 26th I trekked to San Francisco's glorious Castro Theatre once more, this time for a screening of French director Jean Renoir's fabled (and final) Hollywood effort, The Woman on the Beach (1947) starring Robert Ryan, Joan Bennett and Charles Bickford. While the festival's theme was "Who's Crazy Now?" and each film reflected lunacy of some kind, this night's double feature also honored Robert Ryan. In his introduction, Eddie Muller talked about the vicious, venal roles that were Ryan's trademark. Muller contrasted Ryan's filmography of villainous character with the man's generous and humane off-screen values. The enthusiastic packed house cheered when Muller announced that Robert Ryan's daughter Lisa was in the audience.

In introducing The Woman on the Beach, Muller disputed the conventional wisdom that RKO mangled Renoir's film following a disastrous preview. Muller, who knows his noir intimately, told a different story. It was true, he said, that a negative preview did occur, but it was Renoir not RKO who aggressively edited the film afterward. Apparently Renoir was rattled by the audience reaction and lost confidence in his ability to connect with American movie-goers...then he began to cut...and cut.

Charles Bickford in The Woman on the Beach

The Woman on the Beach is, as one might expect, a visually arresting film. Crashing waves, vast sand dunes, ruins of a wrecked ship on a desolate beach, rocky cliffs...fog, wind, rain. The plot concerns a Coast Guard officer (Ryan) who has survived a torpedo disaster at sea and suffers nightmares and mood swings in the aftermath. He encounters a dark beauty (Bennett) gathering firewood on a misty shore and is drawn into a harrowing triangle. Charles Bickford plays the woman's husband, a celebrated artist, now blind, withdrawn from the world and bitter.

Evidence of heavy editing is hard to miss; there is often little flow from scene to scene. And though the film is beautifully photographed and atmospheric, the script is much less inspired. Ryan and Bickford are interesting, but Bennett is inconsistent and lacks allure as the femme fatale. It is a flawed film, but it has its moments and is well worth seeing.

I planned to leave right after the first film, it was a work night after all, but when Muller announced that Rain Organics Vodka would be serving complimentary shots at intermission, I decided to linger a bit. Luckily I was early in the drink line and had enough time, as I let my ice melt, to peruse merchandise for sale on the mezzanine. Eddie Muller's book, Dark City, was on display and one day soon it will be mine. I referred to a borrowed copy when reviewing Warner Home Video's last film noir collection. The book is full of fascinating information and stylishly written...in the noir tradition.

This was my first Noir City, it won't be my last.

Click here to learn more about the Film Noir Foundation.

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San Francisco Film Locations...a mini-tour on video

Huntington Park at the top of Nob Hill, San Francisco

One day not too long ago my friend Dave and I went on an excursion into three San Francisco neighborhoods to shoot video of classic film locations. I'd done some research and worked out a way to cover many films in just a few hours.


The Fairmont Hotel has appeared on film and TV many times

 We began our tour on Nob Hill where such sites as Huntington Park, Grace Cathedral, the Brocklebank Building, the Pacific Union Club, The Fairmont Hotel, the Mark Hopkins Hotel and steep cable car-tracked hills have long figured in films shot or set in the city...films like The Lady from Shanghai, DOA, Dark Passage, The Line Up, Vertigo, Bullitt, various of the Dirty Harry movies, etc. We moved on to North Beach and made three more stops in that colorful neighborhood to check on sites featured in films like Vertigo, Pal Joey, Play it Again, Sam, Basic Instinct and Foul Play. Our final destination was Pacific Heights where we shot just one building, a "mid-century modern" monolith used in Days of Wine and Roses that is no longer contemporary and is now a bit of an eyesore in an upscale part of town.

Dave edited the video, added a music track and recorded my narration. I then tried but was unable to upload the video to Blogger and eventually gave up...and forgot about it. Then, a few days ago,  a Twitter friend tweeted about a photo contest his site, Writing with Hitchcock, was sponsoring that involved posting personal photos of Hitchcock film locations. After I entered a still photo I'd taken of the building at 900 Lombard where Scottie Ferguson lived in Vertigo, I remembered the video.  Once I'd managed to post it on Facebook, I posted it on YouTube and, only slightly delayed...here it is...my mini-tour of San Francisco film locations. Dave and I hope to get back out there again one day. I'd love to venture into other neighborhoods as well as do a "Hitchcock tour" of the San Francisco Bay Area.

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Marlene Dietrich...another facet of her legend



Marlene Dietrich is one of very few film stars whose career not only spanned 60+ years but who also enjoyed icon status for most of those years. Her life in film began in the early 1920s with silent pictures. It came to a close with Maximillian Schell's 1984 Oscar-nominated documentary, Marlene, in which she speaks but does not appear on camera.

Marlene in the '30s

Dietrich shot to fame as Lola Lola in Josef von Sternberg's The Blue Angel (1930). Shortly after the film premiered, she left Germany for the U.S. where she and von Sternberg collaborated on six more films during the 1930s. The first, Morocco (1930), was nominated for four Oscars, including a Best Actress nod for Dietrich. By the end of the decade her career had cooled but was reignited when she co-starred, at von Sternberg’s urging, with James Stewart in the 1939 hit, Destry Rides Again. Although Dietrich continued making films in the 1940s, most were shot before the U.S. entered the war or made after the war ended. Though she appeared in only nine films from 1950 - 1978, several are classics: Hitchcock's Stage Fright (1950), Fritz Lang's Rancho Notorious (1952), Billy Wilder's Witness for the Prosecution (1957), Orson Welles's Touch of Evil (1958) and Stanley Kramer's Judgment at Nuremberg (1961). Her final film role was in Just a Gigolo (1978) starring David Bowie; while the movie is forgettable, her brief appearance is not.


chanteuse

In 1953, the Sahara Hotel in Las Vegas offered Dietrich the unheard of sum of $30,000 a week to perform on stage. Her run was so successful that she was quickly signed for a similar engagement in London. The London show was also a smash and she followed it with a return engagement at the Sahara. This was the beginning of Dietrich's celebrated career (and reinvention) as a high-ticket chanteuse that lasted through the mid-1970s. In 1972 she performed her concert act as a TV special and earned an impressive-for-the-era $250,000 for it.

Marlene Dietrich is remembered for her several classic films, her concert career, her breathtaking glamour and her many amorous adventures. But there was another side to the actress that is less well known today...

World War II on the ground

While she was in England in 1937 working on a film, von Ribbentrop, Hitler's ambassador to Great Britain at the time, approached and pressured her to return to Germany. She refused and became a U.S. citizen in 1939. When America entered World War II, Dietrich was one of the first stars to sell war bonds. She entertained troops on front lines all over Europe and in North Africa, appeared at sevicemen's canteens and made anti-Nazi broadcasts in Germany. In addition, Dietrich and other successful Eastern European émigrés in Hollywood provided both financial assistance and moral support to refugees from the European film community who fled the Nazi onslaught. 


World War II with Allied troops

The OSS (the CIA of the time) had a Morale Operations (MO) branch that began producing 'black' (propaganda) radio programs in 1943. These programs reached listeners throughout Europe and the Mediterranean and were intended to create discord in the Axis countries. In 1944, the MO began to recruit Hollywood talent to boost the quality of programming on its stations. The MO’s most popular station was Soldatensender (Soldiers' Radio), and one of the most popular songs it played was Dietrich's "Lili Marlene" with 'black' lyrics created especially for the German version. The Nazi government banned the broadcast of the song, but the ban was lifted in the face of a backlash among Axis soldiers. "Lili Marlene" soon became the song played at the end of every Soldantensender broadcast.

In 1945, the U.S. government awarded Marlene Dietrich the Presidential Medal of Freedom, one of the first presented. Similarly, France made her a chevalier of the Legion of Honor.

But Dietrich's largesse did not begin with World War II…


John Gilbert and Marlene Dietrich

 In 1934 Dietrich became romantically involved with one of the great stars of the silent era, John Gilbert. Gilbert's young daughter Leatrice came to know Dietrich through her father. In her 1985 biography of him, Dark Star, Leatrice Gilbert Fountain wrote of Dietrich's kindness to her, particularly after John Gilbert's death in early 1936.

According to Leatrice, during Dietrich's romance with John Gilbert the actress tried to help revitalize his career as well as his health. She arranged for Gilbert to test for the role of her jewel-thief partner in Desire (1936). Gilbert got the part but unfortunately, shortly after filming began, he suffered a heart attack and was replaced in the role.

Leatrice recalled visiting her father's house on December 24,1935 and being dazzled by the beautiful Christmas tree, decorated in the German tradition by Dietrich herself. She noted that Dietrich had thoughtfully slipped away that day so she could spend time alone with her father. Just over two weeks later John Gilbert was dead of a heart attack.

Following his funeral, Dietrich contacted Leatrice's mother with information and advice about Gilbert's will that could benefit his daughter. Though her mother was unable to successfully pursue the information Dietrich provided, more important to young Leatrice was the relationship she developed with the actress.

with Cary Grant in Blonde Venus

Days after John Gilbert's funeral, Leatrice received an enormous bouquet from Dietrich with a card in her handwriting, "I adored your father. Let me adore you."

Leatrice Gilbert Fountain wrote in Dark Star that for many years thereafter Dietrich made a point of spending time with her. She remembered Dietrich as a "fairy godmother" and told how the star took her to theater openings, on long walks and talks, baked cookies and cakes for her and generally made her feel like "a princess." All this was at a time when Dietrich was very busy with her film career.

Fountain reflected, "I wonder if Marlene Dietrich realized what a difference her presence made to me." She also recounted stories of Dietrich's early days in Hollywood when word began to circulate that she paid the overdue rent of a studio secretary who'd lost her job, that she picked up the hospital bill for the child of a studio electrician and other such acts of generosity. Fountain emphasized that Dietrich did not take credit for these deeds nor would she talk to Fountain about her efforts to help John Gilbert; Leatrice had to go to other sources to learn the details.

Marlene Dietrich died at age 90 in Paris on May 6, 1992. Her celebrity remains legendary, but her goodwill deserves a place in the Dietrich legend as well.

Marlene Dietrich in Just a Gigolo, 1978

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