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Mia Farrow: More Than The Sum of Her Parts

20 Oct

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For those of you who have never seen it, tis’ the season to rent Rosemary’s Baby (1968). The titular horror movie of the late 60’s holds up better than almost any horror movie of it’s time, aside from Psycho (1960) of course. And the biggest and best reason for this is the singular, star-making performance of Roman Polanski’s leading lady – the lovely doe-eyed Mia Farrow. Long before Woody Allen, Mia was Mrs. Frank Sinatra, a TV star of Peyton Place and a relative unknown to movie audiences. But that was all about to change in the blink of a devil-baby’s eye.

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I rented Rosemary’s Baby again after having not seen the movie in over ten years. Quaint by today’s extreme horror movie standards, the film has nonetheless retained its slow-boil tension up to the still terrifying reveal (I’m not going to spoil the ending but it’s pretty hard not to figure it out early on). But aside from the sheer craft of Polanski’s horror-show is the real reason to watch a movie that is over 47-years old: The beautiful Mia Farrow. This is an actress in a role that allows her to use every ounce of her formidable talent, spirit and energy. She is so compelling, so convincing and so apparently vulnerable that she draws the audience in with every fiber of her being.

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Mia’s greatest feature (in my humble opinion) are her eyes. She has these large, gumball-sized blue eyes that are made all the larger by her famous, fashion-statement on steroids Pixie cut. Ms. Farrow recent corrected the historians who attributed the iconic cut to Vidal Sassoon (Mia’s character even attributes the cut to him in the movie). However, it was Farrow herself that cut her own hair within-an-inch of its life and caught the attention of the world with its fashion-forward playfulness. Granted, Mia’s bone-structure and light features make her face glow to begin with but add the Pixie cut and her face and EYES are the main attraction in Rosemary’s Baby.

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The duality of Mia’s persona in the film is that a woman who looks so frail, so frightened can be so strong. She is all of 23 in the movie and her face literally glows (with youthfulness, and then illness as the movie progresses thanks to white make-up that Polanski had her wear to give her a sickly pallor). The young actress was famously married to Frank Sinatra at the time she took the role. He didn’t want her to do the movie and it’s a credit to Mia that she told her old man to go to hell. The subsequent divorce made the way for Mia to become a major star in her own right and no longer hidden in the shadow of the Chairman of the Board.

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Mia went on to become as big a fashion icon as she was a movie star. Like Audrey Hepburn in Wait Until Dark before her – the hidden strength of her character shown through in her movie persona – a perfect meld that stands the test of time even as most movies of the 60’s appear so dated because of the fashion, music and style of the times. Mia’s personality is of the 60’s but transcends the time period because of the allegory inherent in Rosemary’s Baby; that of a young mother fearing for the safety of her unborn child as well as her own – surrounded by evil in a world gone mad. Maybe that’s why it resonates so well today.

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This Halloween, treat yourself and the kids with this amazing, elevated horror movie. The thrills and chills are tame next to today’s average video-game let alone horror movie. And be warned, there is some nudity (albeit of a beautiful young woman in her absolute prime). But if you want to be spellbound by one of the most amazing screen performances ever captured, mesmerized by a woman who is more than the sum of her (movie) parts before or since – watch Mia Farrow in Rosemary’s Baby.

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Even before the climax at the end, you’ll know why the devil just couldn’t keep his claws off Mia with those deep, giant blue eyes of hers.

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Garbo’s Last Stand: New Novel Cover Reveal

13 Oct

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Excited to share cover of my very first novel out this December 8th by Fiery Seas Publishing!

Garbo’s Last Stand – a novel

James Main is stuck making cable documentaries in LA when he places an ad looking for anyone still above ground who knew glamorous movie goddess Greta Garbo. He’s delighted when salty old tabloid reporter Seth Moseley replies with the promise of an untold story of why the reclusive star left Hollywood at the height of her power and fame.

A big thanks to Tom Sylvan for the gorgeous cover design and Misty Williams at Fiery Seas for all her support!

Hope you enjoy the cover and look forward to telling you more about the book as we get closer to the release date!

Jane Greer: Smoking in Bed

28 Sep

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Jane Greer grows on you. At least she did on me ever since I saw her in Out of the Past (1947). I can see why Howard Hughes fell for her and fell for her hard. But I’m getting ahead of myself.

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Little baby Greer first started her career by winning beauty contests. And as a teenager, her good looks had come into full bloom and an attractive contralto voice made her a desirable addition to any band. Greer was singing with big bands (most notably Enric Madriguera’s orchestra in Latin Club Del Rio in Washington, D.C.) before she was out of her teens.

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The legend goes that age 15, Jane suffered an attack of palsy that left her face partially paralyzed. She claimed that it was through facial exercises to overcome the paralysis that she learned the efficacy of facial expression in conveying human emotion, a skill she was renowned for using in her acting. Plus, it made her hard as nails and when she didn’t like something or someone, well, good luck trying to win her over.

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Howard Hughes spotted Greer modeling on the cover of Life magazine of June 8, 1942 and sent her to Hollywood to become an actress. Now this is where everything gets interested with Greer, starting with the Life photo shoot. Here is a series of photos taken from that session.

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Greer is beautiful and can pour on the cheesecake better than any of them. I especially love her negligee.

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But, true to Jane’s nature she can’t take this stuff, or herself, so seriously and breaks into a play grin that makes her more sexy than ever – IMO.

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But then she gets back to business after a cigarette break.

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And the final version of that life magazine cover is her big break into the business.

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Jane married Rudy Vallee, her senior by 22 years, in 1943. Hughes lent out the actress to RKO to star in many films, including Dick Tracy (1945), Out of the Past (1947), They Won’t Believe Me (1947), and the comedy/suspense film The Big Steal (1949), alongside Out of the Past co-star Robert Mitchum.

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Out of the Past with favorite co-star was a huge hit for both up and coming stars.

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Jane was at first intimidated by her hunky co-star but she quickly got over it after getting to know Mitchum. For all his tough-guy reputation, Robert was one of the nicest, most intelligent and most giving actors who rose to fame in noir.

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Both stars became great friends for the rest of their lives and would star again with each other on screen.

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But it was Out of the Past that anyone who wants to see Greer and Mitchum perform at the top of their form.

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And see Jane Greer as the defining femme fatale that would influence so many others.

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Greer was also the first woman to sue Howard Hughes and RKO Pictures because she didn’t like the films he was putting her in. And here’s the best part – she won. And here’s the even better part, Hughes loved her so much that he kept using her.

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Jane was a true original and one of the first femme fatales onscreen. Offscreen, she told it like it was and played by her own rules as well. Makes you wonder how art does imitate life sometimes.

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Especially when both are starring a leading lady as beautiful and talented as Jane Greer!

 

Sophia Loren: Dangerous Curves

21 Sep

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Sophia Loren is one of the most beautiful women ever to grace the silver screen.

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Her exotic looks are all natural and she was happy to share them with the world.

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An exotic import, Sophia has a larger than life persona that she flaunted to maximum effect.

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But what I love her for is her class mixed with sex appeal, able to play one off the other.

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Even when lampooning her own public image, Sophia did it with grace.

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I especially like this shot of her. So stunning!

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And this one. How she could turn a corny glamor shoot into art I’ll never know.

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But even dressed down and wind-swept she was beautiful!

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Happy Birthday, Sophia! And many more…

Veronica Lake: Peek-a-Boo

20 Sep

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Veronica Lake is one of the most iconic movie goddesses of the 1940’s. And leave it to several men to try and take credit for her trademark Peek-a-Boo hairstyle that made her instantly recognizable the world over. Veronica’s first appearance on screen was for RKO, playing a small role among several coeds in the film SORORITY HOUSE (1939). Similar roles followed, including All Women Have Secrets and Dancing Co-Ed. During the making of Sorority House, director John Farrow said he first noticed how her hair always covered her right eye, creating an air of mystery about her and enhancing her natural beauty. But this wouldn’t be the first or last time someone took credit for discovering Lake’s unique look.

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While still a teenager, Lake was introduced to the Paramount producer Arthur Hornblow, Jr. He changed her name to Veronica Lake because he said her surname suited her blue eyes. But it wasn’t enough to make Lake a household name, not yet at least, and RKO subsequently dropped her contract. But a small role in the comedy Forty Little Mothers (1940) brought unexpected attention. And in 1941, Veronica was signed to a long-term contract with Paramount Pictures. Her star was ascending but it would take another supposed man to rocket her to superstardom.

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Lake next starred opposite Joel McCrea in Sullivan’s Travels (1941). But Lake’s breakthrough role was in the 1941 war drama I Wanted Wings. The film was a major hit in which Lake played the second female lead. Hollywood lore (or more likely studio PR men) wrote that it was during the filming of I Wanted Wings that Lake developed her signature look. Lake’s long blonde hair accidentally fell over her right eye during a take and created a “peek-a-boo” effect. The hairstyle became Lake’s trademark and was widely copied by women.  Lake then followed up with starring roles in more popular movies, including This Gun for Hire (opposite Alan Ladd), I Married a Witch, and So Proudly We Hail!.  Lake was considered one of the most reliable box office draws in Hollywood. At the peak of her popularity, she earned $4,500 a week.

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Lake became known for playing opposite actor Alan Ladd, which began with This Gun for Hire. Initially, the couple was teamed together because Ladd was just 5 feet 5 inches tall and the only actress then on the Paramount lot short enough to pair with him was Lake, who stood just 4 feet 11 1⁄2 inches. They would make four more films together including the film noirs The Glass Key (1942), The Blue Dahlia (1946) and Saigon. Amazing how things happen in Tinseltown, right? But they did have a fiery on-screen chemistry, even though Ladd called Lake a bitch to work with. No doubt Lake was one of the original divas – but there’s always two sides to every Hollywood story.

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During World War II, Lake changed her trademark peek-a-boo hairstyle at the urging of the government to encourage women working in war industry factories to adopt more practical, safer hairstyles. Although the change helped to decrease accidents involving women getting their hair caught in machinery, doing so may have damaged Lake’s career. She also became a popular pin-up girl for soldiers during World War II and traveled throughout the United States to raise money for war bonds. Unfortunately, Lake’s true story does not have a happy ending. She fell out of favor in Hollywood because of her alcoholism and other mental health issues. But alas, I will always remember Lake in her signature film noir roles. She was a screen siren of the tallest order and, at the end of the day, we’re to buy the myth and not the reality of Hollywood sex goddesses. In my opinion, Lake was a talented actress who fell victim to the fame of her own hairstyle. It’s a cautionary tale for any talented actress trying to break through today. Stay true to yourself, and even when you do break through – don’t buy the hype!

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Veronica Lake will be remembered as a beautiful woman who influenced an entire generation of women and how they wore their hair. She just happened to be a talented actress, too. And for this, we’ll always love her place in cinematic history!

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One more crazy Hollywood pin-up photo for the road!

Shirley Eaton: Pure Gold

14 Sep

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Fifty years ago Ian Fleming’s James Bond was a brand new franchise for MGM. Sean Connery is, in my humble opinion, the best Bond of them all and not just because he was the first. He was debonaire, cool and (true to the novels and the time period) a complete and total sexist pig. Now, I’m not advocating for sexist pigs and I’m certainly not glorifying the objectification of beautiful women. But in 1964 when GOLDFINGER was made the Mad Men sensibilities were very much in full swing and Bond personified for many men (if you had money, looks and opportunity) how a playboy conducted himself. And for Goldfinger, the producers spared no expense surrounding their star spy with a small army of beautiful females, the most memorable of which was British Actress Shirley Eaton.

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Shirley was a beautiful actress with a stunning face and physique. She personified what would become universally-known at a Bond Girl: a surefire ticket to Hollywood stardom if there ever was one. However, fifty-years ago being a Bond Girl didn’t necessarily hold the weight it does today. Ursula Andres will always hold a place in Bond lore as the first Bond Girl. But it wasn’t ’til Shirley that “Bond Girl” became ubiquitous with sex symbol akin to the “It Girl” moniker bestowed the original Vamp, Theda Bara (other film historians would later wrongly attribute the first-occurrence of the term to Clara Bow).

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Both Ursula and Shirley were beautiful, Nordic-looking blondes who weren’t shy about showing off their svelte, athletic bodies. But only one of them was to cement her iconic status as a Bond Girl by being covered (literally) in gold paint. Yes, that’s right, folks. Anybody who hasn’t seen Goldfinger can’t truly appreciate what painting an already beautiful woman from head to toe in metallic gold paint will do to overload a man’s senses. The visual effect was so mesmerizing that Shirley Eaton quickly became the single most iconic image of a goddess captured on film since Greta Garbo. Ironically, MGM had covered Garbo  in Silver Make-Up #1 (a formula specifically created for her by Max Factor) to make her ultra-luminous in her silent era movies. So much so that Garbo became the technical center of her movies; everything was lit to look dim in comparison to her glowing face.

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For Goldfinger, the producers took every precaution to ensure that Shirley would not asphyxiate under the heavy coat of body-paint. If you look closely at the production shot above, you’ll see that the actress’s stomach was not covered in paint because she would be lying face down when Bond finds her in the big reveal shot (below). You see, in the movie the evil Goldfinger dipped poor Shirley in real gold as a fun, inventive way to off her. Sure to piss off Bond and lead to a climactic, final battle to avenge Bond lovely sex object. The resulting effect was movie magic of the tallest order and images from the scene were splattered in magazines and newspapers throughout the world – making Shirley a star overnight.

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In 1964, the American censors were having heart palpitations over the naked body covered in nothing but body paint. That’s when it was decided that Shirley’s bum needed to be covered. The British censors had no such puritanical queasiness. They were much more upset over the exceedingly violent storyline. That said, the English did take exception to the name of another female character in the film – the one played by actress Honor Blackman called “Pussy Galore”. They were adamant that the character be renamed “Kitty Galore” except for one fortuitous day when none other than Prince Philip visiting the British-based set and had a photo op with the young actress. When the photo hit the English newspapers the caption read “Puss and Prince”. After that, the name stuck and the censors backed down.

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Shirley’s star rose quickly after the release of Goldfinger but for the most part her movie roles were relegated to the sexpot, cheesecake variety that is typical of the time period. But so what? Her role as the Golden Girl of the Movies was secured and even though watching Goldfinger today is by most accounts a quaint affair – seeing beautiful Shirley lying on a white silk bed covered in gold still has the visual punch to wake the most tired libido. She evokes the stirrings one would imagine the goddesses down through the ages have done in oil paint, marble and stone. Maybe the makers of Bond were just reducing Shirley to a sex symbol, one that appealed to even the lowest common denominator. But I like to think that the result, whether intended or not, subconscious or conscious – was for a brief second raised to object d’art; a living, breathing, life-size work of art. One that is held in the mind long after the original context has fallen away.

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Then again, maybe it is mostly about sex and objectifying a beautiful woman by spraying her with body-paint. Either way, I’ll never forget the first time I saw Shirley Eaton on my family’s 12-inch Sony Color TV. I think I was about 8-years old when Goldfinger was replayed as the Saturday Night Movie and my three brothers and I fought for position in front of the tiny screen. And then there she was in all her golden-goddess glory, beamed into our little suburban home and imprinted on my frontal lobes forever. Long before I knew what sex even meant, I knew what I saw was beautiful and that I liked it…a lot. Miss Eaton left an impression alright – one that remains vivid to this day as a movie moment so iconic as to be pure gold.

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And I’m glad to say Shirley is still with us to this day! You can visit her on her fan website at http://www.shirleyeaton.net

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Don’t forget to drop her a line and tell her what her most famous movie role meant to you!

 

 

 

Belinda Lee: Lady Noir

24 Aug

 

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Fate is fickle, especially when it comes to movie actresses. One day it shines upon an up and coming young actress, the next she is relegated to “sexpot” roles only to die young before her star ever ascends. Hollywood lore is littered with such tragic tales of would-be starlets. I met such a blonde beauty the other night in the B-movie 50’s noir BLACKOUT. And the blonde beauty in question is British actress Belinda Lee.

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Belinda had the movie star looks to be huge. She had the acting chops too. Not that she got the chance to flex them very much. Through a confluence of events and misfortune, Belinda was never given the shot I believe she deserved. And like so many actresses throughout time, her time in the limelight was relegated to cheap Noirs and, later, Sword & Sandal epics. But at least we have Blackout, the best Noir that Hammer Films (yes, the same studio famous for Christopher Lee Dracula movies and other such B-movie Monster cult classics) made in the mid-50’s. Starring opposite the equally relegated-to-oblivion star Dane Clark.

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In the movie, Belinda plays the daughter of a murdered millionaire who may or may not be behind his death. She plays the role convincingly enough, beguiling poor Dane with her beauty into investigating who the real killer may be – all the while twisting and turning his guts over like any self-respecting blonde bombshell with a secret will do. What I liked about this movie is that it had an original plot, but more importantly their was chemistry between Belinda and Dane. I actually cared about what happened to these characters and wanted to see them end up together in the end, even if she was bad for his health. Hell, isn’t that the point of most noirs – even when you win the girl you lose?

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The film was shot for nickels in the streets of London and did little for Belinda’s career. And try as she might to be taken seriously, her looks were her worst enemy. She would continue to work but in increasingly cheesier supporting roles in some of the more tawdry and forgettable technicolor extravaganzas. So, what is a would-be serious actress to do in her mid-twenties stuck in a rut? Belinda moved to Italy, of course. But instead of attracting quality material – instead Belinda ended up working in tawdry Italian B-movies, speaking in a language that wasn’t even her own. Before long, her marriage crumbled and she was implicated in an affair with a government official that would end his career and send her flying off to America to ply her trade stateside.

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Belinda had just wrapped a film in Las Vegas and was on her way to a vacation in Los Angeles when she was killed in a car crash in San Bernardino at the age of 26. The would be star never had the chance to strut her stuff on Hollywood & Vine. I’d like to think that she could have reinvented herself in classier fare – the kind of vehicles that made Greer Garson and Deborah Kerr household names. Alas, it was not to be for beautiful Belinda. All we have of her legacy now is a page on Wikipedia, some hard to find films and the above-par noir classic BLACKOUT.

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Then again, how many people are remembered at all – let alone have their moment in a dark, moody murder mystery set in a turbulent post-WWII noir. In a way, Belinda was luckier than most who shoot for the stars and come up just short. She had the chance, she just never got the breaks but will always be remembered for her beauty and a few moments of celluloid gold. And maybe, just maybe, blogs like this one will keep her candle burning in the pantheon of near-forgotten starlets. A reminder of how much work goes into making an actress a star but without luck and the breaks necessary to open doors – comes and goes like a freight train in the night.

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I enjoyed my one night with Belinda very much and I encourage any film aficionado, cinefile or anglophile for that matter to seek out Belinda Lee in BLACKOUT for their own night of dark pleasure. She won’t disappoint. Just remember never to turn your back on her.

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And one more look of beautiful Belinda Lee for the road.

Jennifer O’Neill: Summer Lover

4 Jul

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For most of us there are images that stick in the mind long after their context fades away. That was this image of Jennifer O’Neill in SUMMER OF ’42 (1971). Actually, it was this nearly identical image in black & white below:

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Taken a few seconds apart, they are virtually identical except for Jennifer’s hand placement. The Black & White version of this photograph is famous (available as a poster, it remains a seminal image from the early 70’s) while the color-version is not. What makes the difference is the virtually subliminal image the second image conveys. In the movie, Jennifer plays a wife who’s husband is engaged in WWII. She is lonely, waiting for word from her husband while living in a beach house over the summer during one of the worst chapters in the war’s history. Her wedding ring in the second photograph is visible wherein the first image it is not. And it makes all the difference in the photograph, the character in the story and in the classic film.

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Summer of ’42 is a novel by Herman Raucher which the film was based. It was shot in 1969-70 and released in 1971. The film catapulted Jennifer into stardom, as much for her wholesome looks (the hope of a generation of Americans some have called the greatest) as for her action – which my opinion is superb. In fact, Jennifer would go on to act in almost 30 films throughout the 70’s and early 80’s but never again attain the starry heights of Summer of ’42.

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Jennifer is a contemporary of Katherine Ross, Charlotte Rampling and several other actresses I’ve covered in this blog. What sets her apart is that Summer of ’42 was her movie, a star-making vehicle if there ever was one because the audience felt her pain and sense of loss while at the same time taking solace in the arms of a very young paramour during a summer infamous for death. She is so young, so alive and so beautiful that she embodies the hopes and ideals of what that generation of Americans stood for. At the same time, the subject matter was highly controversial because it portrayed an affair between a married woman (albeit war widow) and an under-age boy. By today’s standards the film’s so-called love scenes are chaste, but back in ’71 it was hot-stuff. And even today, no man can deny watching the movie that having an affair with Jennifer O’Neill in a summer house would be an affair to remember – under any circumstances.

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Summer of ’42 is a beautifully-shot movie with an absolutely gorgeous actress in the prime of her youth and career. It is one of those rare cinematic occasions where you literally can’t imagine anyone else in the role. Sure, it has been remade in various incarnations since then – but none were able to replicate the magic. I think this is in large part to Jennifer’s ability to captivate with her performance as much as her looks. Even more, it is saturated in the hues and values of summer – that special time we all slow down, enjoy the sun and beach and invariably reflect on our lives; what’s been, what is and what will be. And for me, that’s the magic spell summer and Summer of ’42 cast no matter what the generation is watching it.

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One more shot of gorgeous Jennifer and Happy July 4th!

Elle Fanning: Beauty Awakens

11 May

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I think Elle is delightful and going to be a huge actress in a few more years…or maybe sooner. Her star turn in Super 8 was transformational, going from relative obscurity as younger sister to Dakota to a force in her own right. The camera lovers her even more than her sister. Her look is fresh and young, expressive and full of hope and beauty.

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Elle is now a legitimate star playing opposite Angelina Jolie in Disney’s new tentpole MALIFICENT (2014). And, to be honest, Elle who plays Sleeping Beauty will be the only reason I watch this movie. I can’t wait to see what she gets to do with the role opposite the scenery-eating Jolie, who at this point can scare me without having to put horns on. Don’t get me wrong, I’m sure it will be a monster hit. That said, the real acting will be coming from the younger thespian and not Angelina – who’s reputation for being not very nice to begin with has been firmly established. But I digress. Elle is the real star of the movie. A star who is rapidly ascending in the eyes of audiences and Hollywood alike.

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Elle is practically Hollywood royalty already. Her sister Dakota was a break-out child star and seemed to be in everything a few years back. Elle on the other hand, is on a much more mindful track to stardom – enjoying the process of filmmaking while keeping a balanced family life as well as pursuing dancing and other great, normal growing up pursuits out of the public eye. It’s so refreshing than so many other children of Hollywood who grow up too fast and burn out before they’ve even hit their mid-twenties.

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There’s  a freshness, an innocence to Elle that is integral to her onscreen appeal. I can only hope she retains that star quality while she grows into her own – amidst the pressures of stardom and all the entangling trappings that come with that rarest of territories. That’s where I think her family is going to really make the difference. As they must have learned with Dakota – fame can be fleeting but family is forever.

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I think the casting of Elle as Sleeping Beauty was a no-brainer for Disney. And I’m looking forward to her interpretation of what could potentially be a phoned-in role for any number of young starlets. But that’s what I’m really hedging my bets with for Elle: the role that every princess would love to play has gone to a young actress with some real acting chops and a beauty that can transform any ordinary role. I’m banking that she gives Angelina a run for her money, no matter how many special effects they throw into Malificent. Because at the end of the day, the classic story deserves a contemporary twist and could be a lot of spooky fun. A promise that was not fulfilled in the subpar TWIXT in which Elle was a delightful ghost – in a ghost story that was otherwise dreadful thanks to Francis Ford Coppolla’s uninspired direction.

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It will be an eye-opening experience finally seeing this sleeping beauty awaken into her own. And I’m pretty sure that will be worth the price of admission in a couple weeks!

 

Kirsten Dunst: Girl with a Devilish Smile

29 Dec

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Kirsten is one of my favorite contemporary actresses. She has been in the business a long time and easily one of the best actresses working today. Consistently excellent, the one thing the Dunster her trouble with is connecting with commercially successful roles. Don’t get me wrong, she has had her fair share of hits – though not in the same stratosphere as Jennifer Lawrence or Amy Adams, for instance.

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What sets Kirsten apart from both Lawrence and Adams is that she broke out when she was still a child, in her amazing performance as an immortal, child-vampire in “Interview with a Vampire”. Her ability to convey a woman in a child’s body was eerily on the mark, decades before “Let the Right One In”. Even her kiss with Brad Pitt was convincing, which she said at the time was totally gross.

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Dunst would make many more memorable, star-turning roles in “The Virgin Suicides”, “Bring it On” and “Little Women” but none truly catapulted her back into the spotlight until “Spider Man” opposite Tobey Maguire. Dunst as love interest Mary Jane to Spidey was truly inspired casting and secured Dunst as a bankable star in her own right.

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With Big Box office comes opportunity in Hollywood and Dunst used her new clout to make several smaller, important films. Most recently she portrayed a depressed bride at the end of the world in Lars Von Triers’ “Melancholia” a role that she fully-committed to and was met with critical raves for the young actress.  She was even able to survive Von Trier’s near career-suicide at the Cannes Film Festival when the film debuted. Having grown up in the business, the savvy Dunst is able to navigate the media as easily as she can a choice role.

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One of the more curious movies Kirsten has been in recently is 2012’s “Upside Down” a lavish, visually intoxicating love story set between two worlds who share the same atmosphere – yet different gravity, literally. Dunst was luminous in the film, as she always is, but there was something missing. It was a perfect example of a director and co-star not being able to keep up with a leading lady whose very on-screen presence is more stunning than any special effect. And while the film was lackluster, Kirsten makes the film worth watching just to bliss out on her face for 2+ hours.

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I can’t wait to see the German born American actress in her next star turn, whatever that may be. And my wish for her in 2014 is to connect with the right role that will make audiences realize just how amazing she is. No offense to Jennifer Lawrence and Amy Adams but Kirsten was here first. And she’s going to be around a long, long time after many of her contemporaries have come and gone.

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Kirsten in a more serious mood.

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A more playful mood by the pool (very patriotic, too).

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And one of my favorite glamor shots of the classic, timeless beauty!