RIP Rod Taylor and Zsa Zsa's daughter. I think the only film I saw Rod in was The Birds and I enjoyed him in that. Also, have you thought of starting a page on Facebook for Barbara Walter? I've noticed there is one and it has over 16,000 likes, but it's one of those in which people can't comment on or post photos. It might get more attention with it being a popular medium and it seems she does have a lot of fans.
Your dedication is amazing and admirable.I hadnt realised that it was so time consuming otherwise I wouldnt have asked if you planned to start up any more groups.Im sure Barbara would appreciate the effort and the love behind it as she strikes me as having being a very gracious lady.
Whats struck me from your group is just how many photos they take behind the scenes on film sets and tv shows.
I havent looked so far in immense detail but it strikes me that Barbara Stanwyck was perfect casting for The Big Valley-and she seems immensely happy on set.Would you say tv suited her temperent best in the latter years ?I dont mean shes not suited to film -She certainly DID and was a legend,I mean in her later years was the different pace and environment of working in tv as opposed too battling to get big parts in the film industry a more serene calmer way of life she was happy to embrace?
Im not sure if Im making sense?But I think in Barbaras case tv definitely WASNT a step down as some snobs may see it.
Funny that you mention the different pace of working on TV as compared to working in film, because Barbara discusses this in a marvellous documentary, "Portrait - Barbara Stanwyck" This five part documentary that can be seen in YouTube, it is not a great copy, but well worth watching as it is the only TV interview that she ever gave.
I am fortunate enough to have a copy of this on DVD, I bought the 16mm film of this rare interview from a collector and then had it transferred to disc.
Barbara preferred the fast pace of filming for TV, and when she went back to film Walk in the Wild Side at Columbia in 1961 she said the slow pace of filming for the big screen almost drove her mad after the fast pace of TV filming. She said that when they went on location for The Big Valley she would get up around 3 o'clock in the morning, but she obviously relished, and thrived on this hectic schedule.
I think that those four years working on The Big Valley were probably the happiest of her later years. Linda Evans said that she would come to work bubbling with excitement saying, "It's the earthquake scene today" or "We have the burning building scene today" and she said this enthusiasm was very infectious. She also said that Barbara taught her all about professionalism, be there on time, know your lines, and treat the crew and co-workers with equal respect.
Some may have thought it a step down for her to move to TV, but it was a win, win situation for her. She found a whole new generation of fans who had never seen her on the big screen, but after watching her in The Big Valley, discovered her wonderful legacy of Classic films when they were shown on TV. If you look through the magazine album in our group you will see just how many times she was featured on the front covers of fan magazine in the 1960's. She said that not even in her Hollywood hey day did she have fans picnicking in her lawn, and eventually she had to move to Loma Vista, a quieter part of Beverley Hills, which incidentally you can see the photo's of which I took on my first and only visit to Hollywood in 1979.
Interesting that you should mention the behind the scene photo's because they're my favourites. I especially love those while filming Double Indemnity where you see Barbara, Fred Macmurray, and director Billy Wilder in the supermarket, with several security guards looking on. I first saw this film when it was reissued in 1950, and of course back then I had never seen a supermarket, and I was fascinated how people could walk around helping themselves to products off the shelves. How time have changed! ;-)
RIP Rod Taylor and Zsa Zsa's daughter. I think the only film I saw Rod in was The Birds and I enjoyed him in that. Also, have you thought of starting a page on Facebook for Barbara Walter? I've noticed there is one and it has over 16,000 likes, but it's one of those in which people can't comment on or post photos. It might get more attention with it being a popular medium and it seems she does have a lot of fans.
Its amazing to think that in the age of facebook movie stars born over a century ago are still so popular!The internet truly is a gift for keeping the flame alive and creating new fans!
Funny that you mention the different pace of working on TV as compared to working in film, because Barbara discusses this in a marvellous documentary, "Portrait - Barbara Stanwyck" This five part documentary that can be seen in YouTube, it is not a great copy, but well worth watching as it is the only TV interview that she ever gave.
I am fortunate enough to have a copy of this on DVD, I bought the 16mm film of this rare interview from a collector and then had it transferred to disc.
Barbara preferred the fast pace of filming for TV, and when she went back to film Walk in the Wild Side at Columbia in 1961 she said the slow pace of filming for the big screen almost drove her mad after the fast pace of TV filming. She said that when they went on location for The Big Valley she would get up around 3 o'clock in the morning, but she obviously relished, and thrived on this hectic schedule.
I think that those four years working on The Big Valley were probably the happiest of her later years. Linda Evans said that she would come to work bubbling with excitement saying, "It's the earthquake scene today" or "We have the burning building scene today" and she said this enthusiasm was very infectious. She also said that Barbara taught her all about professionalism, be there on time, know your lines, and treat the crew and co-workers with equal respect.
Some may have thought it a step down for her to move to TV, but it was a win, win situation for her. She found a whole new generation of fans who had never seen her on the big screen, but after watching her in The Big Valley, discovered her wonderful legacy of Classic films when they were shown on TV. If you look through the magazine album in our group you will see just how many times she was featured on the front covers of fan magazine in the 1960's. She said that not even in her Hollywood hey day did she have fans picnicking in her lawn, and eventually she had to move to Loma Vista, a quieter part of Beverley Hills, which incidentally you can see the photo's of which I took on my first and only visit to Hollywood in 1979.
Interesting that you should mention the behind the scene photo's because they're my favourites. I especially love those while filming Double Indemnity where you see Barbara, Fred Macmurray, and director Billy Wilder in the supermarket, with several security guards looking on. I first saw this film when it was reissued in 1950, and of course back then I had never seen a supermarket, and I was fascinated how people could walk around helping themselves to products off the shelves. How time have changed! ;-)
Barbara was definitely more professional than most of her hollywood contempories-I cant imagine hee being a stroppy diva like some certain other legendary females!:D
You can tell a lot about a person by how they treat people who cant really answer them back.
Out of the men from this era who had the reputation for being Barbaras equilivent in terms of professionialism and treating crew with respect?In other words who was deservedly known as a total gent?
I admire Barbaras work ethic in prefering television despite its more frantic pace as the natural human preference seems to be to slow down the pace with age.
The Thornbirds and Barbaras role in it has been a firm favourite within my family for years:)
Its a shame The Colbys wasnt better conceived as a series because with a higher standard of production Barbara would have been epic and a modern day soap queen.
Ive got lots of family visitors tommorrow Walter so I will be spending some quality time on monday and tuesday looking through many of the pictures in your Yahoo group:)
Also, have you thought of starting a page on Facebook for Barbara Walter? I've noticed there is one and it has over 16,000 likes, but it's one of those in which people can't comment on or post photos. It might get more attention with it being a popular medium and it seems she does have a lot of fans.
If you look through the other Facebook groups on Barbara, you will see that there is already an excellent one where you can add comments and photo's, in fact I have just added an off set shot of The Lady Eve. As I mentioned in a previous message, my Yahoo group already takes up many hours, and I find that is more than enough to cope with at the moment.
I have been up since 5am this morning so that I can answer my email and be out on the road running at least ten miles as part of my four month solid training for the London Marathon in April. ;-)
Barbara was definitely more professional than most of her hollywood contempories-I cant imagine hee being a stroppy diva like some certain other legendary females!:D
You can tell a lot about a person by how they treat people who cant really answer them back.
Out of the men from this era who had the reputation for being Barbaras equilivent in terms of professionialism and treating crew with respect?In other words who was deservedly known as a total gent?
I admire Barbaras work ethic in prefering television despite its more frantic pace as the natural human preference seems to be to slow down the pace with age.
The Thornbirds and Barbaras role in it has been a firm favourite within my family for years:)
Its a shame The Colbys wasnt better conceived as a series because with a higher standard of production Barbara would have been epic and a modern day soap queen.
Ive got lots of family visitors tommorrow Walter so I will be spending some quality time on monday and tuesday looking through many of the pictures in your Yahoo group:)
I would say that James Stewart was the male equivalent of Barbara, I remember that Janet Leigh got emotional just talking about him when she watched herself in a scene with him from The Naked Spur when she was being interviewed a few years ago.
Barbara never worked with him, but there are photo's of them together in the 1930's and '70's in the photo album of her with friends and colleagues.
I LOVE her performance in The Thorn Birds, and her last scene never fails to reduce me to tears, probably because I am now older than she was when she made that emotional speech, and every word is so true.
Let me tell you something about that God of yours, that vengeful God who ruins our bodies and leaves us with only enough wit for regret. Inside this stupid body I am still young, I still feel, I still want, and I still dreaml
Another link of sorts to Barbara has passed away Walter:(
Son of Samuel Goldwyn who produced Barbaras films Ball of Fire and Stella Dallas.Became a bit of a mogul and supporter of independent film in his own life helping to get Julia Roberts career started.Was certainly well known in high up Hollywood social circles.
PS Ive never heard ANYONE now I think of it say a bad word against Jimmy Stewart-a rare feat in the movie business so that in itself suggests he was quite the gentlemen.
Another link of sorts to Barbara has passed away Walter:(
Son of Samuel Goldwyn who produced Barbaras films Ball of Fire and Stella Dallas.Became a bit of a mogul and supporter of independent film in his own life helping to get Julia Roberts career started.Was certainly well known in high up Hollywood social circles.
PS Ive never heard ANYONE now I think of it say a bad word against Jimmy Stewart-a rare feat in the movie business so that in itself suggests he was quite the gentlemen.
What amazed me was that he was 88, and he was still being referred to as Jnr. His father lived until 94, and was of course the G in MGM. There are photo's of him and Barbara on the set of Ball of Fire, and he was already 62 back in 1941.
Sam Snr was known for some unintentionally very funny quotes, known as "Goldwyn'isms.":
In two words: Im-Possible.
Include me Out.
My wife's hands are so beautiful, I am going to have a bust made of them.
Anyone who goes to a psychiatrist should have his head examined.
When you're a star, you have to take the bitter with the sour.
If you can't give me your word of honour, can you give me your promise?
What we need now is some new, fresh clichés.
Every director bites the hand that lays the golden egg.
Too caustic? Too hell with the cost, we'll make the film anyway.
A wide screen just makes a bad film twice as bad.
Flashbacks are a thing of the past.
A hospital is no place to be sick.
I don't care if my pictures never make a dime, a long as everyone keeps coming to see them.
I'll give you a definite maybe.
I read part of it all the way through.
This new atom bomb is dynamite.
You've got to take the bull by the teeth.
If I could drop dead right now, I'd be the happiest man alive!
I never put on a pair of shoes until I've worn them for five years.
The scene is dull, tell him to put more life into his dying.
Don't talk to me while I'm interrupting.
Our comedies are not to be laughed at.
Tell me, how did you love my picture?
I never liked you and I always will.
Don't pay any attention to the critics, don't even ignore them.
I was always an independent producer, even when I had partners.
Go and see for yourself why you shouldn't see it.
I'd hire the devil himself if he's write me a good story.
A producer shouldn't get ulcers, he should give them.
For your information, I should like to ask a question.
I may not always be right, but I'm never wrong!
This makes me so sore it gets my dandruff up.
When I want your opinion, I'll give it to you.
A bachelor's life is no life for a single man.
It's more than magnificent, it's mediocre!
Colour television. Bah! I won't believe it until I see it in black and white!
I'm overpaying him, but he's worth it! (on Fredric March)
When everyone's happy with the rushes, the picture's always a stinker!
We' do anything for each other, we'd even cut each other throats.
We wants a story that starts with an earthquake, and works it's way up a climax.
We've all passed a lot of water since then!
I don't think that anyone should write his autobiography until after he's dead.
Never make forecasts, especially about the future.
(On William Wyler's films) I made them, Willie only directed them.
In this business it's dog eat dog, and nobody's going to eat me!
Sam was quite an act to follow, but his son seems to have done aright for himself.
What amazed me was that he was 88, and he was still being referred to as Jnr. His father lived until 94, and was of course the G in MGM. There are photo's of him and Barbara on the set of Ball of Fire, and he was already 62 back in 1941.
Sam Snr was known for some unintentionally very funny quotes, known as "Goldwyn'isms.":
In two words: Im-Possible.
Include me Out.
My wife's hands are so beautiful, I am going to have a bust made of them.
Anyone who goes to a psychiatrist should have his head examined.
When you're a star, you have to take the bitter with the sour.
If you can't give me your word of honour, can you give me your promise?
What we need now is some new, fresh clichés.
Every director bites the hand that lays the golden egg.
Too caustic? Too hell with the cost, we'll make the film anyway.
A wide screen just makes a bad film twice as bad.
Flashbacks are a thing of the past.
A hospital is no place to be sick.
I don't care if my pictures never make a dime, a long as everyone keeps coming to see them.
I'll give you a definite maybe.
I read part of it all the way through.
This new atom bomb is dynamite.
You've got to take the bull by the teeth.
If I could drop dead right now, I'd be the happiest man alive!
I never put on a pair of shoes until I've worn them for five years.
The scene is dull, tell him to put more life into his dying.
Don't talk to me while I'm interrupting.
Our comedies are not to be laughed at.
Tell me, how did you love my picture?
I never liked you and I always will.
Don't pay any attention to the critics, don't even ignore them.
I was always an independent producer, even when I had partners.
Go and see for yourself why you shouldn't see it.
I'd hire the devil himself if he's write me a good story.
A producer shouldn't get ulcers, he should give them.
For your information, I should like to ask a question.
I may not always be right, but I'm never wrong!
This makes me so sore it gets my dandruff up.
When I want your opinion, I'll give it to you.
A bachelor's life is no life for a single man.
It's more than magnificent, it's mediocre!
Colour television. Bah! I won't believe it until I see it in black and white!
I'm overpaying him, but he's worth it! (on Fredric March)
When everyone's happy with the rushes, the picture's always a stinker!
We' do anything for each other, we'd even cut each other throats.
We wants a story that starts with an earthquake, and works it's way up a climax.
We've all passed a lot of water since then!
I don't think that anyone should write his autobiography until after he's dead.
Never make forecasts, especially about the future.
(On William Wyler's films) I made them, Willie only directed them.
In this business it's dog eat dog, and nobody's going to eat me!
Sam was quite an act to follow, but his son seems to have done aright for himself.
Samuel Goldwyn certainly sounds like quite a character-Very witty indeed!But was he a tough task master too within the film industry as Im sure that to be a succesful movie mogul one had to be tough as well as passionate.Was he difficult to work with andcwould you say the demise of the era of the movie mogul is something to lament?Perhaps a system dominated by movie moguls wouldnt stand a chance of working in the 21st century.
Oh btw any thoughts on Anita Ekberg please?Not a household name but incredibly beautiful onscreen.
Samuel Goldwyn certainly sounds like quite a character-Very witty indeed!But was he a tough task master too within the film industry as Im sure that to be a succesful movie mogul one had to be tough as well as passionate.Was he difficult to work with andcwould you say the demise of the era of the movie mogul is something to lament?Perhaps a system dominated by movie moguls wouldnt stand a chance of working in the 21st century.
Oh btw any thoughts on Anita Ekberg please?Not a household name but incredibly beautiful onscreen.
I think that all of the movie moguls were tough, they had to be, and remember they had all come from very humble beginnings. Goldwyn was a Polish/Jewish imigrant from Warsaw. Lucky that he changed his name from Goldfish, Metro-Goldfish-Mayer just doesn't sound quite right for big, glamorous studio. ;-)
He didn't want Barbara for Stella Dallas, he thought that she was too young, and hadn't any experience of children. It was her good friend Joel McCrea who persuaded him to let her test for the role. Barbara had always hated testing, but she wanted the part so much that she agreed, and she and Anne Shirley playing her daughter, did the birthday party scene where nobody turns up. Goldwyn cried when he saw it, and Barbara won the role that brought her the first of her four Oscar Nominations. Ball of Fire, her next film for Goldwyn brought her another Best Actress Nomination.
Goldwyn wasn't even impressed with Laurence Olivier when he was signed to play Heathcliffe in Wuthering, and Olivier told this story against himself complete with accent, when Goldwyn saw him on the set for the first time, and pointing an accusing finger at him shouted
Thees ector es the ogliest ector in pictures, thees ector will ruin me!:
The movie moguls were usually opinionated, bombastic, and often coarse and vulgar, but they loved movies, were great risk takers, and knew how to build stars who would last, but they were of their time, and that time will never return..
As for Anita Ekberg, she came in at the end of the star system, just another big bosomed female with no noticeable talent or personality. There is something about Swedish actresses that leave me cold, I have always found Garbo and Bergman quite resistable, and for me, Ekberg was just another cold Swede.
I think that all of the movie moguls were tough, they had to be, and remember they had all come from very humble beginnings. Goldwyn was a Polish/Jewish imigrant from Warsaw. Lucky that he changed his name from Goldfish, Metro-Goldfish-Mayer just doesn't sound quite right for big, glamorous studio. ;-)
He didn't want Barbara for Stella Dallas, he thought that she was too young, and hadn't any experience of children. It was her good friend Joel McCrea who persuaded him to let her test for the role. Barbara had always hated testing, but she wanted the part so much that she agreed, and she and Anne Shirley playing her daughter, did the birthday party scene where nobody turns up. Goldwyn cried when he saw it, and Barbara won the role that brought her the first of her four Oscar Nominations. Ball of Fire, her next film for Goldwyn brought her another Best Actress Nomination.
Goldwyn wasn't even impressed with Laurence Olivier when he was signed to play Heathcliffe in Wuthering, and Olivier told this story against himself complete with accent, when Goldwyn saw him on the set for the first time, and pointing an accusing finger at him shouted
Thees ector es the ogliest ector in pictures, thees ector will ruin me!:
The movie moguls were usually opinionated, bombastic, and often coarse and vulgar, but they loved movies, were great risk takers, and knew how to build stars who would last, but they were of their time, and that time will never return..
As for Anita Ekberg, she came in at the end of the star system, just another big bosomed female with no noticeable talent or personality. There is something about Swedish actresses that leave me cold, I have always found Garbo and Bergman quite resistable, and for me, Ekberg was just another cold Swede.
Goldwyn sounds like hes very hard to please and had a penchant for high standards but an eye for intuitively judging whether an artists talent was top quality/suitable/brimming with potential was at times rather patchy.However I am so glad he changed his mind over Barbara:)
Did Goldwyn have an notorious duds both in terms of films he backed or actors/actresses he cultivated but whom career never really progressed and took of as expected?
Are there any european actresses from this era Walter (apart from swedes!:D) who you liked?Gina Lollo,Sophia Loren etc?
Goldwyn sounds like hes very hard to please and had a penchant for high standards but an eye for intuitively judging whether an artists talent was top quality/suitable/brimming with potential was at times rather patchy.However I am so glad he changed his mind over Barbara:)
Did Goldwyn have an notorious duds both in terms of films he backed or actors/actresses he cultivated but whom career never really progressed and took of as expected?
Are there any european actresses from this era Walter (apart from swedes!:D) who you liked?Gina Lollo,Sophia Loren etc?
Oh yes indeed, both Goldwyn and Zanuck thought that they had found a new Garbo, and how wrong they were. Bette Davis described this perfectly in a marvellous BBC radio interview that I taped back in 1963 when she was over here promoting "Baby Jane."
"You can't PLAN a star, Mr Goldwyn told everyone that Miss Anna Sten was a great Star, Mr Zanuck told us that Miss Elissa Landi was a great star. They spent millions of dollars trying to convince the public that they had found a new great star. NEVER!! the public make stars, by that I mean that there are certain people who have something that the public want, and then you become commodity that makes money, and the public do that every time."
I liked Sophia Loren in some films, but never went out of my way to see her. I quite like Catherine Deneuve, but my favourite Continental actress of them all was the underrated Lilli Palmer.
Today is the 26th anniversary of Barbara Stanwyck's death. I can remember that day very well. It was announced on the Sunday afternoon news on ITV, although I knew that she had been ill, I was still numb with shock.
By 9pm I was able to record all of the news channels who were paying tribute to her. The BBC paid their own tribute by showing one of her films every day for a week.
You can see Angela Lansbury and Audrey Hepburn on You Tube paying their own tribute when Barbara's death was announced at the 1990 Golden Globes. Ironically, Audrey died on the same day just three years later.
Today is the 26th anniversary of Barbara Stanwyck's death. I can remember that day very well. It was announced on the Sunday afternoon news on ITV, although I knew that she had been ill, I was still numb with shock.
By 9pm I was able to record all of the news channels who were paying tribute to her. The BBC paid their own tribute by showing one of her films every day for a week.
You can see Angela Lansbury and Audrey Hepburn on You Tube paying their own tribute when Barbara's death was announced at the 1990 Golden Globes. Ironically, Audrey died on the same day just three years later.
OMG Walter Im so sorry Ive only just spotted this post:(
So many memories,feelings and thoughts that must have crossed your mind today.
I think its a true testament to Barbaras impact that shes still rembered ,talked about and appreciated a quarter of century after her passing.You should be very proud in the wonderful role youve played in keeping the flame alive.A beautiful byproduct/side effect of your very strong and sincere passion for Barbara Stanwyck and her vast body of work.
Im afraid to say that if Barbara died in 2015 that the fanfare abd grand foorage and tributes by broadcasters would be much less.
Apologies again for not spotting this post earlier.
OMG Walter Im so sorry Ive only just spotted this post:(
So many memories,feelings and thoughts that must have crossed your mind today.
I think its a true testament to Barbaras impact that she's still remembered ,talked about and appreciated a quarter of century after her passing. You should be very proud in the wonderful role you've played in keeping the flame alive. A beautiful byproduct/side effect of your very strong and sincere passion for Barbara Stanwyck and her vast body of work.
I'm afraid to say that if Barbara died in 2015 that the fanfare and grand footage and tributes by broadcasters would be much less.
Apologies again for not spotting this post earlier.
No problem, I just noticed that I made a cock up, it should have read 25th Anniversary - not 26th.
You are right though, even when the great Paul Newman died not one of the channels showed a tribute to him.
In contrast, because she was in a popular Soap icon, Anne Kirkbride is receiving an enormous amount of publicity.
Oh yes indeed, both Goldwyn and Zanuck thought that they had found a new Garbo, and how wrong they were. Bette Davis described this perfectly in a marvellous BBC radio interview that I taped back in 1963 when she was over here promoting "Baby Jane."
"You can't PLAN a star, Mr Goldwyn told everyone that Miss Anna Sten was a great Star, Mr Zanuck told us that Miss Elissa Landi was a great star. They spent millions of dollars trying to convince the public that they had found a new great star. NEVER!! the public make stars, by that I mean that there are certain people who have something that the public want, and then you become commodity that makes money, and the public do that every time."
I liked Sophia Loren in some films, but never went out of my way to see her. I quite like Catherine Deneuve, but my favourite Continental actress of them all was the underrated Lilli Palmer.
Yeah I totally agree its utterly futile to try and force a star upon the public.If the person concerned hasnt got some mix of hard to define/pin down qualities essential to appeal and connecting with the public then the attempt is doomed.
I also feel that its a mistake to try and think too much along the lines if trying to make a new Greta Garbo,New Bette Davis,New John Wayne,New Barbara Stanwyck etc-Actors at this level of the business are unique and impossible to recreate as such .Trying to recreate someone in that mould is likely to end up in a disapointing damp squib because their overlooking the originality of new talent by misguidedly trying to recreate what cant really be recreated.
Can you ever see any of Barbaras films being remade?
Yeah I totally agree its utterly futile to try and force a star upon the public.If the person concerned hasnt got some mix of hard to define/pin down qualities essential to appeal and connecting with the public then the attempt is doomed.
I also feel that its a mistake to try and think too much along the lines if trying to make a new Greta Garbo,New Bette Davis,New John Wayne,New Barbara Stanwyck etc-Actors at this level of the business are unique and impossible to recreate as such .Trying to recreate someone in that mould is likely to end up in a disapointing damp squib because their overlooking the originality of new talent by misguidedly trying to recreate what cant really be recreated.
Can you ever see any of Barbaras films being remade?
Many of Barbara's films have already been remade, here they are in order of the year the original was released:
Illicit - 1931 - co starring Ricardo Cortez. Remade as Ex Lady with Bette Davis and Gene Raymond.. This was quite a daring story at that time about a couple who decide to live together rather than marry. I have never seen Bette's version but I do have a digitally remastered copy of Barbara's, and for an 84 year old film it is excellent.
So Big - 1932 - co starring George Brent, and in a small but significant supporting role. Bette Davis. Remade in 1953 with Jane Wyman and Sterling Hayden. It is so long ago since I saw the remake, but Jane was a terrific actress and I believe that it was quite good.
Stella Dallas - 1937 - co starring John Boles and Ann Shirley. Barbara's Classic Oscar Nominated film was remade as Stella with Bette Midler, in 1990, and Bette did a very good job, although the story was dated even in 1937.
The Lady Eve - 1941 - co starring Henry Fonda and Charles Coborn. Barbara greatest film got a dreadful remake in 1956 as The Birds and the Bee's with Mitzi Gaynor, George Gobel and David Niven. Happily it sank without a trace while the glorious original is now hailed as a Classic, and is a fresh and funny as when it was first released 74 years ago.
Ball of Fire - 1941 - co starring Gary Cooper. another Classic remade as A Song is Born with Danny Kaye and Virginia Mayo on 1948. The advantage of the remake was that it was shot in Technicolor which the original should have been. Otherwise it was inferior in every way, even if it had the same director Howard Hawks who had Mayo attempting to copy Barbara's scintillating performance and failing miserably.
Double Indemnity - 1944 - co starring Fred MacMurray and Edward G Robinson.
Awful TV remake with Richard Crenna, Samantha Eggar and Edward G Robinson, not even worth discussing.
Christmas in Connecticut - 1945 - co starring Dennis Morgan. Barbara's delightful comedy suffered a really appalling remake directed by Scwartzneggar with Dyan Cannon and Tony Curtis in 1992. AWFUL!
Sorry, Wrong Number. 1948. co starring Burt Lancaster. Barbara's last Oscar nominated film has had several TV remakes,which happily I missed!
No Man of Her Own. 1950. co starring John Lund and Jane Cowl. This great film noir was remade as a comedy drama, Mrs Winterbourne in 1996 with Shirley Maclaine and Rikki Lake, a mess, and a big mistake.
They were even going to do a big screen version of Barbara's TV show The Big Valley with Jessica Lange, happily it seems the powers that be have thought better of it.
WOW Walter I cant believe they even DREAMED to attempt to remake Double Indemnity especially for tv as tjis film noir classic especially is primarily aimed at being a cinematic masterpiece first and foremost.
Which remake of Barbaras films if any would you say was the "best"?
Im trying to recall the name of an actress from old Hollywood NOT a big name who it was CLAIMED was a lesbian and married or dated an actor who was gay ,split with him and tragically drunk herself into an early grave in the 50s or 60s despite showing great promise in her early career.May also have had her own tv show?I cannot recall her name but Pat rings a bell vaguely!
Are you able to think who she is whom Im trying to remember please?
WOW Walter I cant believe they even DREAMED to attempt to remake Double Indemnity especially for tv as tjis film noir classic especially is primarily aimed at being a cinematic masterpiece first and foremost.
Which remake of Barbaras films if any would you say was the "best"?
Im trying to recall the name of an actress from old Hollywood NOT a big name who it was CLAIMED was a lesbian and married or dated an actor who was gay ,split with him and tragically drunk herself into an early grave in the 50s or 60s despite showing great promise in her early career.May also have had her own tv show?I cannot recall her name but Pat rings a bell vaguely!
Are you able to think who she is whom Im trying to remember please?
I enjoyed Bette Midler in Stella, the remake of Stella Dallas, she did a great job in an outdated story, but I am a big fan of Bette's anyway.
The only actress who I can think of that fits your description is Frances Farmer. She had a promising stage career before moving on to films. She was the female lead in the Broadway version of Golden Boy and was all set to repeat her performance on film. Then the producers realised they needed a bigger name to star opposite newcomer William Holden, so Barbara took over, and that started a lifetimes friendship with the man she always called her "Golden Boy."
Farmer was always a rebel and resented the restrictions of the Hollywood studios. She was arrested several times for drunken driving, and when asked what her occupation was by the arresting officer replied "coc##ucker, what else!" ;-)
She was married for a short time to actor Leif Erickson, but I never heard of him being gay, and he did marry twice more after their divorce.
She was institutionalised for some time, but eventually straightened herself out, even hosting a popular daytime TV show where she introduced classic films, and interviewing stars including her ex husband.
She died in 1970, and the six pall bearers were all women. Her autobiography, Will There Really be a Morning, ghost written with a woman companion, was published a year after her death, and it was filmed in 1983, with Jessica Lange as Frances.
I enjoyed Bette Midler in Stella, the remake of Stella Dallas, she did a great job in an outdated story, but I am a big fan of Bette's anyway.
The only actress who I can think of that fits your description is Frances Farmer. She had a promising stage career before moving on to films. She was the female lead in the Broadway version of Golden Boy and was all set to repeat her performance on film. Then the producers realised they needed a bigger name to star opposite newcomer William Holden, so Barbara took over, and that started a lifetimes friendship with the man she always called her "Golden Boy."
Farmer was always a rebel and resented the restrictions of the Hollywood studios. She was arrested several times for drunken driving, and when asked what her occupation was by the arresting officer replied "coc##ucker, what else!" ;-)
She was married for a short time to actor Leif Erickson, but I never heard of him being gay, and he did marry twice more after their divorce.
She was institutionalised for some time, but eventually straightened herself out, even hosting a popular daytime TV show where she introduced classic films, and interviewing stars including her ex husband.
She died in 1970, and the six pall bearers were all women. Her autobiography, Will There Really be a Morning, ghost written with a woman companion, was published a year after her death, and it was filmed in 1983, with Jessica Lange as Frances.
Hi Thanks as always for the detailed reply Walter but it seems I rembered some of the details wrong-Ive just checked and it was someone called Gail Russell who the rumours were about?
As for Bette Midler I wont be the first or the last person to refer to her as simply Divine!:D
Hi Thanks as always for the detailed reply Walter but it seems I rembered some of the details wrong-Ive just checked and it was someone called Gail Russell who the rumours were about?
As for Bette Midler I wont be the first or the last person to refer to her as simply Divine!:D
Sadly, Gail Russell is one of the most tragic stories to ever come out of Hollywood.
It all happened when a Paramount casting director gave two schoolgirls a lift and they told him about their beautiful classmate who was known as "the Hedy Lamarr of Santa Monica High School." Paramount sent for her, but she was pathologically shy, and could hardly open her mouth to speak. The studio didn't care, they signed her and got her an acting coach. After two bit roles she was signed for the 1944 ghost story Classic, "The Uninvited" opposite Ray Milland. The film was a big hit, and Gail received great reviews. Little did anyone know that the shy and insecure 20 year old beauty was already fortifying herself with a few drinks to calm her nerves. Sheets were even held up on the set so that she would not have to endure the stares of the crew.
After several more hit films, including "Our Heart Were Young and Gay" and "Calcutta" with Alan Ladd, she did "Angel and the Badman" with John Wayne. When Wayne befriended Gail and asked her to appear in his next film "The Wake of the Red Witch" his wife unjustly accused them of having an affair.
In 1950 Gail married Guy Madison, one of the most handsome men ever to grace the screen (and if you Google him you will see what I mean) Guy was discovered by gay talent scout Henry Willson, who I have mentioned in an earlier post. Willson also discovered Rory Calhoun, who later became a very close friend of Guy. So close in fact that Willson was said to have discovered the pair of them in a wild coupling in Guy's Cadillac, and if you Google Rory, well, the mind just boggles just how the agent would have reacted at finding them together!
There were rumours in Hollywood about both Gail and Guy's sexuality, and no one was surprised when they divorced in 1954.
Gail tried Alcoholic's Anonymous, but she seemed past help, especially in 1957 when she drove her brand new car through the window of a restaurant at 4am. She was arrested for drunk driving, and when questioned said, "I had a few drinks, I had two, no four, oh I don't know, it's nobody's business anyway."
With her career over she sank in to oblivion, until she was discovered dead in her apartment in 1951, surrounded by empty liquor bottles, she was just 36 years old, and died of acute alcoholism.
Sadly, Gail Russell is one of the most tragic stories to ever come out of Hollywood.
It all happened when a Paramount casting director gave two schoolgirls a lift and they told him about their beautiful classmate who was known as "the Hedy Lamarr of Santa Monica High School." Paramount sent for her, but she was pathologically shy, and could hardly open her mouth to speak. The studio didn't care, they signed her and got her an acting coach. After two bit roles she was signed for the 1944 ghost story Classic, "The Uninvited" opposite Ray Milland. The film was a big hit, and Gail received great reviews. Little did anyone know that the shy and insecure 20 year old beauty was already fortifying herself with a few drinks to calm her nerves. Sheets were even held up on the set so that she would not have to endure the stares of the crew.
After several more hit films, including "Our Heart Were Young and Gay" and "Calcutta" with Alan Ladd, she did "Angel and the Badman" with John Wayne. When Wayne befriended Gail and asked her to appear in his next film "The Wake of the Red Witch" his wife unjustly accused them of having an affair.
In 1950 Gail married Guy Madison, one of the most handsome men ever to grace the screen (and if you Google him you will see what I mean) Guy was discovered by gay talent scout Henry Willson, who I have mentioned in an earlier post. Willson also discovered Rory Calhoun, who later became a very close friend of Guy. So close in fact that Willson was said to have discovered the pair of them in a wild coupling in Guy's Cadillac, and if you Google Rory, well, the mind just boggles just how the agent would have reacted at finding them together!
There were rumours in Hollywood about both Gail and Guy's sexuality, and no one was surprised when they divorced in 1954.
Gail tried Alcoholic's Anonymous, but she seemed past help, especially in 1957 when she drove her brand new car through the window of a restaurant at 4am. She was arrested for drunk driving, and when questioned said, "I had a few drinks, I had two, no four, oh I don't know, it's nobody's business anyway."
With her career over she sank in to oblivion, until she was discovered dead in her apartment in 1951, surrounded by empty liquor bottles, she was just 36 years old, and died of acute alcoholism.
What a desperately desperately sad story.The high level of detail you poesse Walter and the care with which you describe these details never fails to impress me.
I say again you really should consider writing a book on this special unique era.
Its sad to think that Hollywood still has a bias towards superstars hiding their sexuality to preserve careers.Maybe one day we will manage to evolve socially beyond this or maybe it will always be a conunndrum of sorts.Still matters have improved I guess.
One matter Im quite interested in recently is some of the behind the scenes stuff from the fulm sets and the art/craft of filmmaking.
Is there a particular costume designer or "dresser" to the stars particularly the ladies from this era who was considered to be amongst the best in the business and sought after by the stars?
Did Barbara have a favourite "dresser" for lack of a bitter voculabary on my part?Did stars take their own dressers to each new film or did the studio always supply them?
Im kind of assuming this knowledge is in your encyclopedic mind!:D
I say again you really should consider writing a book on this special unique era.
One matter Im quite interested in recently is some of the behind the scenes stuff from the fulm sets and the art/craft of filmmaking.
Is there a particular costume designer or "dresser" to the stars particularly the ladies from this era who was considered to be amongst the best in the business and sought after by the stars?
Did Barbara have a favourite "dresser" for lack of a bitter voculabary on my part?Did stars take their own dressers to each new film or did the studio always supply them?
Im kind of assuming this knowledge is in your encyclopedic mind!:D
I could certainly write a book about the dress designer known as "The Dress Doctor," who like a Fairy Godmother, not only transformed Barbara's screen image, turning her into a glamorous "clothes horse," but who also ended up designing her personal wardrobe as well.
Until she starred in The Lady Eve, Barbara had never shown the slightest interest in clothes or fashion. Although she was never scruffy or untidy like some of todays so called "stars," she was certainly no fashion plate. In fact at the premiere of her film Stella Dallas she was dressed so plainly that she was roughed up by a couple of cops who thought she was a fan trying to gate crash the event. On screen she looked glamorous when the role called for it, but she was usually dressed by Orry-Kelly, Travis Banton, or Travilla, who were used to dressing glamour girls like Dietrich who took a great personal interest in all of her film costumes.
What happened to change everything is described by Edith Head in her excellent book, "The Dress Doctor."
"I had first designed for Barbara in 1940 on Paramount's romantic comedy, Remember the Night - a picture in which Stanwyck had floored people by donning hats without even looking in a mirror, and with no concern for how they looked on her. She explained her behaviour by saying, 'It's my performance that I'm concerned with, not how I look.' But on the set of The Lady Eve, things went a little differently.
Some actresses fit in three minutes, some take three days. There are those who stand before the mirror absorbing each minute adjustment. Barbara is the one who stood with her back to the mirror! As for fashion, she couldn't have cared less.
The Lady Eve was strictly a dress picture, and I was about to inoculate her with flattering furs, shimmering evening sheaths, and diamonds.
Barbara walked about while director Preston Sturges explained her dual role as two sophisticated ladies; a titled Englishwoman, and a lady gambler. Any expert eye could tell there'd be no difficulty in Stanwyck carrying high fashion. She's small, but she has excellent carriage, a good figure an innate poise. She listened to our diagnosis and said nothing. Barbara would make a first rate hand at poker.
Her first fitting involved an evening gown for the love scene with Henry Fonda. It was of clinging black crepe, a sheath with the slimmest of slim looks (she hated tight skirts), the lowest of necklines, a very high, very tight cummerbund (she hates anything tight around her midriff), and a short jacket covered with black glitter.
When she finally turned around and saw herself in the mirror she was stunned, and she fell in love with high fashion. I worked on all of her pictures for years, and it was the beginning of a long and happy relationship. I enjoyed it because Barbara, with her clean cut, arresting beauty, wears clothes well; but she has a sense of humour that keeps her from ever taking fashion too seriously. She's extraordinarily honest: 'This looks pretty repulsive on me, don't you agree?' Brutally frank: 'It maybe winter white jersey Edith, it looks like long underwear to me!'
The only argument we ever had concerned wardrobe tests. The average female showing clothes just automatically models, put one hand on her hip and walks thus. She'll turn her best angle to the director and cameraman. Barbara puts on a beguiling costume and just stand before the camera, turns around, walks, I'd gesture wildly from behind the camera. 'Hands on the hip, Barbara, come on girl!'
Barbara would have none of it. 'I'm not a model, why should I act like one?' she'd say. Once a costume was in action, an actual scene being shot, the clothes became part of her characterization.'
When the film was released both Barbara's performance, and her glamorous new look received raves, and the costumes started the trend for the Latin American look.
From then on Edith, who usually only designed for Paramount films went with Barbara to Warner's, United Artists, Goldwyn, and Columbia. The only studio that she didn't go to was MGM, where Barbara had the services of the expert designers, Irene, and Helen Rose.
These are the films that Edith designed Barbara's costumes after The Lady Eve:
You Belong To Me - Ball of Fire - The Great Man's Lady - The Gay Sisters - Lady of Burlesque - Flesh and Fantasy - Double Indemnity - Hollywood Canteen - Christmas in Connecticut - My Reputation - The Bride Wore Boots - The Strange Love of Martha Ivers - California - The Two Mrs Carrolls - The Other Love - Cry Wolf - Variety Girl - Sorry, Wrong Number - The File on Thelma Jordon - No Man of Her Own - The Furies - Roustabout.
It was rumoured that this was scrawled on the walls of the men's toilets at Paramount Studios -
"Edith Head gives good wardrobe!"
When Barbara came to London in 1947 for the World premiere of her film The Other Love, she brought her wardrobe from the film with her, and modelled it for the Press at the Savoy Hotel. They were probably the most beautiful costumes that she ever wore in any film, and she kept several of them for her own personal wardrobe.
You can see photo albums for the costumes of both films in our group.
When Barbara moved to Television in 1960 she found another great designer by the name of Werle. He was responsible for her first TV series, "The Barbara Stanwyck Show," and that won her the first of her three Emmy's.
Her last designer was Nolan Miller, he is probably best remembered for the costumes for Joan Collins and Linda Evans in Dynasty. He designed her personal wardrobe, including the bugle bead gown that she wore when I met her at the Lincoln Centre in 1981. The most beautiful gown that he ever designed for her was for the 1978 Acadamy Awards when she presented the Star Wars Oscar with her friend William Holden. He broke away from the script to pay a personal tribute to Barbara, saying that the only reason that he was there that evening was because of her kindness to him in his first film, and you can see that on You Tube.
Jean Louis was the main designer at Columbia, and Adrian at MGM was responsible for Joan Crawford's shoulder pads. When he saw her massive shoulders, instead of disguising them he exaggerated them, and started a trend in the 1930's that was revived again by Nolan Miller for Dynasty in the 1980's. Joan was also famous for her ankle strap shoes, which were known as "Joan Crawford Fu## Me Shoes."
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Funny that you mention the different pace of working on TV as compared to working in film, because Barbara discusses this in a marvellous documentary, "Portrait - Barbara Stanwyck" This five part documentary that can be seen in YouTube, it is not a great copy, but well worth watching as it is the only TV interview that she ever gave.
I am fortunate enough to have a copy of this on DVD, I bought the 16mm film of this rare interview from a collector and then had it transferred to disc.
Barbara preferred the fast pace of filming for TV, and when she went back to film Walk in the Wild Side at Columbia in 1961 she said the slow pace of filming for the big screen almost drove her mad after the fast pace of TV filming. She said that when they went on location for The Big Valley she would get up around 3 o'clock in the morning, but she obviously relished, and thrived on this hectic schedule.
I think that those four years working on The Big Valley were probably the happiest of her later years. Linda Evans said that she would come to work bubbling with excitement saying, "It's the earthquake scene today" or "We have the burning building scene today" and she said this enthusiasm was very infectious. She also said that Barbara taught her all about professionalism, be there on time, know your lines, and treat the crew and co-workers with equal respect.
Some may have thought it a step down for her to move to TV, but it was a win, win situation for her. She found a whole new generation of fans who had never seen her on the big screen, but after watching her in The Big Valley, discovered her wonderful legacy of Classic films when they were shown on TV. If you look through the magazine album in our group you will see just how many times she was featured on the front covers of fan magazine in the 1960's. She said that not even in her Hollywood hey day did she have fans picnicking in her lawn, and eventually she had to move to Loma Vista, a quieter part of Beverley Hills, which incidentally you can see the photo's of which I took on my first and only visit to Hollywood in 1979.
Interesting that you should mention the behind the scene photo's because they're my favourites. I especially love those while filming Double Indemnity where you see Barbara, Fred Macmurray, and director Billy Wilder in the supermarket, with several security guards looking on. I first saw this film when it was reissued in 1950, and of course back then I had never seen a supermarket, and I was fascinated how people could walk around helping themselves to products off the shelves. How time have changed! ;-)
Barbara was definitely more professional than most of her hollywood contempories-I cant imagine hee being a stroppy diva like some certain other legendary females!:D
You can tell a lot about a person by how they treat people who cant really answer them back.
Out of the men from this era who had the reputation for being Barbaras equilivent in terms of professionialism and treating crew with respect?In other words who was deservedly known as a total gent?
I admire Barbaras work ethic in prefering television despite its more frantic pace as the natural human preference seems to be to slow down the pace with age.
The Thornbirds and Barbaras role in it has been a firm favourite within my family for years:)
Its a shame The Colbys wasnt better conceived as a series because with a higher standard of production Barbara would have been epic and a modern day soap queen.
Ive got lots of family visitors tommorrow Walter so I will be spending some quality time on monday and tuesday looking through many of the pictures in your Yahoo group:)
If you look through the other Facebook groups on Barbara, you will see that there is already an excellent one where you can add comments and photo's, in fact I have just added an off set shot of The Lady Eve. As I mentioned in a previous message, my Yahoo group already takes up many hours, and I find that is more than enough to cope with at the moment.
I have been up since 5am this morning so that I can answer my email and be out on the road running at least ten miles as part of my four month solid training for the London Marathon in April. ;-)
I would say that James Stewart was the male equivalent of Barbara, I remember that Janet Leigh got emotional just talking about him when she watched herself in a scene with him from The Naked Spur when she was being interviewed a few years ago.
Barbara never worked with him, but there are photo's of them together in the 1930's and '70's in the photo album of her with friends and colleagues.
I LOVE her performance in The Thorn Birds, and her last scene never fails to reduce me to tears, probably because I am now older than she was when she made that emotional speech, and every word is so true.
Let me tell you something about that God of yours, that vengeful God who ruins our bodies and leaves us with only enough wit for regret. Inside this stupid body I am still young, I still feel, I still want, and I still dreaml
Another old time cinema star has died Walter .Anita Ekberg aged 83:(
Sad news RIP Anita
Another link of sorts to Barbara has passed away Walter:(
Son of Samuel Goldwyn who produced Barbaras films Ball of Fire and Stella Dallas.Became a bit of a mogul and supporter of independent film in his own life helping to get Julia Roberts career started.Was certainly well known in high up Hollywood social circles.
PS Ive never heard ANYONE now I think of it say a bad word against Jimmy Stewart-a rare feat in the movie business so that in itself suggests he was quite the gentlemen.
What amazed me was that he was 88, and he was still being referred to as Jnr. His father lived until 94, and was of course the G in MGM. There are photo's of him and Barbara on the set of Ball of Fire, and he was already 62 back in 1941.
Sam Snr was known for some unintentionally very funny quotes, known as "Goldwyn'isms.":
In two words: Im-Possible.
Include me Out.
My wife's hands are so beautiful, I am going to have a bust made of them.
Anyone who goes to a psychiatrist should have his head examined.
When you're a star, you have to take the bitter with the sour.
If you can't give me your word of honour, can you give me your promise?
What we need now is some new, fresh clichés.
Every director bites the hand that lays the golden egg.
Too caustic? Too hell with the cost, we'll make the film anyway.
A wide screen just makes a bad film twice as bad.
Flashbacks are a thing of the past.
A hospital is no place to be sick.
I don't care if my pictures never make a dime, a long as everyone keeps coming to see them.
I'll give you a definite maybe.
I read part of it all the way through.
This new atom bomb is dynamite.
You've got to take the bull by the teeth.
If I could drop dead right now, I'd be the happiest man alive!
I never put on a pair of shoes until I've worn them for five years.
The scene is dull, tell him to put more life into his dying.
Don't talk to me while I'm interrupting.
Our comedies are not to be laughed at.
Tell me, how did you love my picture?
I never liked you and I always will.
Don't pay any attention to the critics, don't even ignore them.
I was always an independent producer, even when I had partners.
Go and see for yourself why you shouldn't see it.
I'd hire the devil himself if he's write me a good story.
A producer shouldn't get ulcers, he should give them.
For your information, I should like to ask a question.
I may not always be right, but I'm never wrong!
This makes me so sore it gets my dandruff up.
When I want your opinion, I'll give it to you.
A bachelor's life is no life for a single man.
It's more than magnificent, it's mediocre!
Colour television. Bah! I won't believe it until I see it in black and white!
I'm overpaying him, but he's worth it! (on Fredric March)
When everyone's happy with the rushes, the picture's always a stinker!
We' do anything for each other, we'd even cut each other throats.
We wants a story that starts with an earthquake, and works it's way up a climax.
We've all passed a lot of water since then!
I don't think that anyone should write his autobiography until after he's dead.
Never make forecasts, especially about the future.
(On William Wyler's films) I made them, Willie only directed them.
In this business it's dog eat dog, and nobody's going to eat me!
Sam was quite an act to follow, but his son seems to have done aright for himself.
Oh btw any thoughts on Anita Ekberg please?Not a household name but incredibly beautiful onscreen.
Thought this might be of interest to Walter and other Barbara Stanwyck or golden era fans:)
I think that all of the movie moguls were tough, they had to be, and remember they had all come from very humble beginnings. Goldwyn was a Polish/Jewish imigrant from Warsaw. Lucky that he changed his name from Goldfish, Metro-Goldfish-Mayer just doesn't sound quite right for big, glamorous studio. ;-)
He didn't want Barbara for Stella Dallas, he thought that she was too young, and hadn't any experience of children. It was her good friend Joel McCrea who persuaded him to let her test for the role. Barbara had always hated testing, but she wanted the part so much that she agreed, and she and Anne Shirley playing her daughter, did the birthday party scene where nobody turns up. Goldwyn cried when he saw it, and Barbara won the role that brought her the first of her four Oscar Nominations. Ball of Fire, her next film for Goldwyn brought her another Best Actress Nomination.
Goldwyn wasn't even impressed with Laurence Olivier when he was signed to play Heathcliffe in Wuthering, and Olivier told this story against himself complete with accent, when Goldwyn saw him on the set for the first time, and pointing an accusing finger at him shouted
Thees ector es the ogliest ector in pictures, thees ector will ruin me!:
The movie moguls were usually opinionated, bombastic, and often coarse and vulgar, but they loved movies, were great risk takers, and knew how to build stars who would last, but they were of their time, and that time will never return..
As for Anita Ekberg, she came in at the end of the star system, just another big bosomed female with no noticeable talent or personality. There is something about Swedish actresses that leave me cold, I have always found Garbo and Bergman quite resistable, and for me, Ekberg was just another cold Swede.
The Peter Bogdanovitch interview is one of the Extra's on the Criterion Special Edition DVD of The Lady Eve.
As you saw there were lots of off set photo's, and there are even more in a scrapbook which is another of the Extra's on the disc.
Goldwyn sounds like hes very hard to please and had a penchant for high standards but an eye for intuitively judging whether an artists talent was top quality/suitable/brimming with potential was at times rather patchy.However I am so glad he changed his mind over Barbara:)
Did Goldwyn have an notorious duds both in terms of films he backed or actors/actresses he cultivated but whom career never really progressed and took of as expected?
Are there any european actresses from this era Walter (apart from swedes!:D) who you liked?Gina Lollo,Sophia Loren etc?
Oh yes indeed, both Goldwyn and Zanuck thought that they had found a new Garbo, and how wrong they were. Bette Davis described this perfectly in a marvellous BBC radio interview that I taped back in 1963 when she was over here promoting "Baby Jane."
"You can't PLAN a star, Mr Goldwyn told everyone that Miss Anna Sten was a great Star, Mr Zanuck told us that Miss Elissa Landi was a great star. They spent millions of dollars trying to convince the public that they had found a new great star. NEVER!! the public make stars, by that I mean that there are certain people who have something that the public want, and then you become commodity that makes money, and the public do that every time."
I liked Sophia Loren in some films, but never went out of my way to see her. I quite like Catherine Deneuve, but my favourite Continental actress of them all was the underrated Lilli Palmer.
By 9pm I was able to record all of the news channels who were paying tribute to her. The BBC paid their own tribute by showing one of her films every day for a week.
You can see Angela Lansbury and Audrey Hepburn on You Tube paying their own tribute when Barbara's death was announced at the 1990 Golden Globes. Ironically, Audrey died on the same day just three years later.
OMG Walter Im so sorry Ive only just spotted this post:(
So many memories,feelings and thoughts that must have crossed your mind today.
I think its a true testament to Barbaras impact that shes still rembered ,talked about and appreciated a quarter of century after her passing.You should be very proud in the wonderful role youve played in keeping the flame alive.A beautiful byproduct/side effect of your very strong and sincere passion for Barbara Stanwyck and her vast body of work.
Im afraid to say that if Barbara died in 2015 that the fanfare abd grand foorage and tributes by broadcasters would be much less.
Apologies again for not spotting this post earlier.
No problem, I just noticed that I made a cock up, it should have read 25th Anniversary - not 26th.
You are right though, even when the great Paul Newman died not one of the channels showed a tribute to him.
In contrast, because she was in a popular Soap icon, Anne Kirkbride is receiving an enormous amount of publicity.
Not that I begrudge her, I was a big fan.
I also feel that its a mistake to try and think too much along the lines if trying to make a new Greta Garbo,New Bette Davis,New John Wayne,New Barbara Stanwyck etc-Actors at this level of the business are unique and impossible to recreate as such .Trying to recreate someone in that mould is likely to end up in a disapointing damp squib because their overlooking the originality of new talent by misguidedly trying to recreate what cant really be recreated.
Can you ever see any of Barbaras films being remade?
Many of Barbara's films have already been remade, here they are in order of the year the original was released:
Illicit - 1931 - co starring Ricardo Cortez. Remade as Ex Lady with Bette Davis and Gene Raymond.. This was quite a daring story at that time about a couple who decide to live together rather than marry. I have never seen Bette's version but I do have a digitally remastered copy of Barbara's, and for an 84 year old film it is excellent.
So Big - 1932 - co starring George Brent, and in a small but significant supporting role. Bette Davis. Remade in 1953 with Jane Wyman and Sterling Hayden. It is so long ago since I saw the remake, but Jane was a terrific actress and I believe that it was quite good.
Stella Dallas - 1937 - co starring John Boles and Ann Shirley. Barbara's Classic Oscar Nominated film was remade as Stella with Bette Midler, in 1990, and Bette did a very good job, although the story was dated even in 1937.
The Lady Eve - 1941 - co starring Henry Fonda and Charles Coborn. Barbara greatest film got a dreadful remake in 1956 as The Birds and the Bee's with Mitzi Gaynor, George Gobel and David Niven. Happily it sank without a trace while the glorious original is now hailed as a Classic, and is a fresh and funny as when it was first released 74 years ago.
Ball of Fire - 1941 - co starring Gary Cooper. another Classic remade as A Song is Born with Danny Kaye and Virginia Mayo on 1948. The advantage of the remake was that it was shot in Technicolor which the original should have been. Otherwise it was inferior in every way, even if it had the same director Howard Hawks who had Mayo attempting to copy Barbara's scintillating performance and failing miserably.
Double Indemnity - 1944 - co starring Fred MacMurray and Edward G Robinson.
Awful TV remake with Richard Crenna, Samantha Eggar and Edward G Robinson, not even worth discussing.
Christmas in Connecticut - 1945 - co starring Dennis Morgan. Barbara's delightful comedy suffered a really appalling remake directed by Scwartzneggar with Dyan Cannon and Tony Curtis in 1992. AWFUL!
Sorry, Wrong Number. 1948. co starring Burt Lancaster. Barbara's last Oscar nominated film has had several TV remakes,which happily I missed!
No Man of Her Own. 1950. co starring John Lund and Jane Cowl. This great film noir was remade as a comedy drama, Mrs Winterbourne in 1996 with Shirley Maclaine and Rikki Lake, a mess, and a big mistake.
They were even going to do a big screen version of Barbara's TV show The Big Valley with Jessica Lange, happily it seems the powers that be have thought better of it.
Which remake of Barbaras films if any would you say was the "best"?
Im trying to recall the name of an actress from old Hollywood NOT a big name who it was CLAIMED was a lesbian and married or dated an actor who was gay ,split with him and tragically drunk herself into an early grave in the 50s or 60s despite showing great promise in her early career.May also have had her own tv show?I cannot recall her name but Pat rings a bell vaguely!
Are you able to think who she is whom Im trying to remember please?
I enjoyed Bette Midler in Stella, the remake of Stella Dallas, she did a great job in an outdated story, but I am a big fan of Bette's anyway.
The only actress who I can think of that fits your description is Frances Farmer. She had a promising stage career before moving on to films. She was the female lead in the Broadway version of Golden Boy and was all set to repeat her performance on film. Then the producers realised they needed a bigger name to star opposite newcomer William Holden, so Barbara took over, and that started a lifetimes friendship with the man she always called her "Golden Boy."
Farmer was always a rebel and resented the restrictions of the Hollywood studios. She was arrested several times for drunken driving, and when asked what her occupation was by the arresting officer replied "coc##ucker, what else!" ;-)
She was married for a short time to actor Leif Erickson, but I never heard of him being gay, and he did marry twice more after their divorce.
She was institutionalised for some time, but eventually straightened herself out, even hosting a popular daytime TV show where she introduced classic films, and interviewing stars including her ex husband.
She died in 1970, and the six pall bearers were all women. Her autobiography, Will There Really be a Morning, ghost written with a woman companion, was published a year after her death, and it was filmed in 1983, with Jessica Lange as Frances.
Hi Thanks as always for the detailed reply Walter but it seems I rembered some of the details wrong-Ive just checked and it was someone called Gail Russell who the rumours were about?
As for Bette Midler I wont be the first or the last person to refer to her as simply Divine!
Sadly, Gail Russell is one of the most tragic stories to ever come out of Hollywood.
It all happened when a Paramount casting director gave two schoolgirls a lift and they told him about their beautiful classmate who was known as "the Hedy Lamarr of Santa Monica High School." Paramount sent for her, but she was pathologically shy, and could hardly open her mouth to speak. The studio didn't care, they signed her and got her an acting coach. After two bit roles she was signed for the 1944 ghost story Classic, "The Uninvited" opposite Ray Milland. The film was a big hit, and Gail received great reviews. Little did anyone know that the shy and insecure 20 year old beauty was already fortifying herself with a few drinks to calm her nerves. Sheets were even held up on the set so that she would not have to endure the stares of the crew.
After several more hit films, including "Our Heart Were Young and Gay" and "Calcutta" with Alan Ladd, she did "Angel and the Badman" with John Wayne. When Wayne befriended Gail and asked her to appear in his next film "The Wake of the Red Witch" his wife unjustly accused them of having an affair.
In 1950 Gail married Guy Madison, one of the most handsome men ever to grace the screen (and if you Google him you will see what I mean) Guy was discovered by gay talent scout Henry Willson, who I have mentioned in an earlier post. Willson also discovered Rory Calhoun, who later became a very close friend of Guy. So close in fact that Willson was said to have discovered the pair of them in a wild coupling in Guy's Cadillac, and if you Google Rory, well, the mind just boggles just how the agent would have reacted at finding them together!
There were rumours in Hollywood about both Gail and Guy's sexuality, and no one was surprised when they divorced in 1954.
Gail tried Alcoholic's Anonymous, but she seemed past help, especially in 1957 when she drove her brand new car through the window of a restaurant at 4am. She was arrested for drunk driving, and when questioned said, "I had a few drinks, I had two, no four, oh I don't know, it's nobody's business anyway."
With her career over she sank in to oblivion, until she was discovered dead in her apartment in 1951, surrounded by empty liquor bottles, she was just 36 years old, and died of acute alcoholism.
What a desperately desperately sad story.The high level of detail you poesse Walter and the care with which you describe these details never fails to impress me.
I say again you really should consider writing a book on this special unique era.
Its sad to think that Hollywood still has a bias towards superstars hiding their sexuality to preserve careers.Maybe one day we will manage to evolve socially beyond this or maybe it will always be a conunndrum of sorts.Still matters have improved I guess.
One matter Im quite interested in recently is some of the behind the scenes stuff from the fulm sets and the art/craft of filmmaking.
Is there a particular costume designer or "dresser" to the stars particularly the ladies from this era who was considered to be amongst the best in the business and sought after by the stars?
Did Barbara have a favourite "dresser" for lack of a bitter voculabary on my part?Did stars take their own dressers to each new film or did the studio always supply them?
Im kind of assuming this knowledge is in your encyclopedic mind!:D
I could certainly write a book about the dress designer known as "The Dress Doctor," who like a Fairy Godmother, not only transformed Barbara's screen image, turning her into a glamorous "clothes horse," but who also ended up designing her personal wardrobe as well.
Until she starred in The Lady Eve, Barbara had never shown the slightest interest in clothes or fashion. Although she was never scruffy or untidy like some of todays so called "stars," she was certainly no fashion plate. In fact at the premiere of her film Stella Dallas she was dressed so plainly that she was roughed up by a couple of cops who thought she was a fan trying to gate crash the event. On screen she looked glamorous when the role called for it, but she was usually dressed by Orry-Kelly, Travis Banton, or Travilla, who were used to dressing glamour girls like Dietrich who took a great personal interest in all of her film costumes.
What happened to change everything is described by Edith Head in her excellent book, "The Dress Doctor."
"I had first designed for Barbara in 1940 on Paramount's romantic comedy, Remember the Night - a picture in which Stanwyck had floored people by donning hats without even looking in a mirror, and with no concern for how they looked on her. She explained her behaviour by saying, 'It's my performance that I'm concerned with, not how I look.' But on the set of The Lady Eve, things went a little differently.
Some actresses fit in three minutes, some take three days. There are those who stand before the mirror absorbing each minute adjustment. Barbara is the one who stood with her back to the mirror! As for fashion, she couldn't have cared less.
The Lady Eve was strictly a dress picture, and I was about to inoculate her with flattering furs, shimmering evening sheaths, and diamonds.
Barbara walked about while director Preston Sturges explained her dual role as two sophisticated ladies; a titled Englishwoman, and a lady gambler. Any expert eye could tell there'd be no difficulty in Stanwyck carrying high fashion. She's small, but she has excellent carriage, a good figure an innate poise. She listened to our diagnosis and said nothing. Barbara would make a first rate hand at poker.
Her first fitting involved an evening gown for the love scene with Henry Fonda. It was of clinging black crepe, a sheath with the slimmest of slim looks (she hated tight skirts), the lowest of necklines, a very high, very tight cummerbund (she hates anything tight around her midriff), and a short jacket covered with black glitter.
When she finally turned around and saw herself in the mirror she was stunned, and she fell in love with high fashion. I worked on all of her pictures for years, and it was the beginning of a long and happy relationship. I enjoyed it because Barbara, with her clean cut, arresting beauty, wears clothes well; but she has a sense of humour that keeps her from ever taking fashion too seriously. She's extraordinarily honest: 'This looks pretty repulsive on me, don't you agree?' Brutally frank: 'It maybe winter white jersey Edith, it looks like long underwear to me!'
The only argument we ever had concerned wardrobe tests. The average female showing clothes just automatically models, put one hand on her hip and walks thus. She'll turn her best angle to the director and cameraman. Barbara puts on a beguiling costume and just stand before the camera, turns around, walks, I'd gesture wildly from behind the camera. 'Hands on the hip, Barbara, come on girl!'
Barbara would have none of it. 'I'm not a model, why should I act like one?' she'd say. Once a costume was in action, an actual scene being shot, the clothes became part of her characterization.'
When the film was released both Barbara's performance, and her glamorous new look received raves, and the costumes started the trend for the Latin American look.
From then on Edith, who usually only designed for Paramount films went with Barbara to Warner's, United Artists, Goldwyn, and Columbia. The only studio that she didn't go to was MGM, where Barbara had the services of the expert designers, Irene, and Helen Rose.
These are the films that Edith designed Barbara's costumes after The Lady Eve:
You Belong To Me - Ball of Fire - The Great Man's Lady - The Gay Sisters - Lady of Burlesque - Flesh and Fantasy - Double Indemnity - Hollywood Canteen - Christmas in Connecticut - My Reputation - The Bride Wore Boots - The Strange Love of Martha Ivers - California - The Two Mrs Carrolls - The Other Love - Cry Wolf - Variety Girl - Sorry, Wrong Number - The File on Thelma Jordon - No Man of Her Own - The Furies - Roustabout.
It was rumoured that this was scrawled on the walls of the men's toilets at Paramount Studios -
"Edith Head gives good wardrobe!"
When Barbara came to London in 1947 for the World premiere of her film The Other Love, she brought her wardrobe from the film with her, and modelled it for the Press at the Savoy Hotel. They were probably the most beautiful costumes that she ever wore in any film, and she kept several of them for her own personal wardrobe.
You can see photo albums for the costumes of both films in our group.
When Barbara moved to Television in 1960 she found another great designer by the name of Werle. He was responsible for her first TV series, "The Barbara Stanwyck Show," and that won her the first of her three Emmy's.
Her last designer was Nolan Miller, he is probably best remembered for the costumes for Joan Collins and Linda Evans in Dynasty. He designed her personal wardrobe, including the bugle bead gown that she wore when I met her at the Lincoln Centre in 1981. The most beautiful gown that he ever designed for her was for the 1978 Acadamy Awards when she presented the Star Wars Oscar with her friend William Holden. He broke away from the script to pay a personal tribute to Barbara, saying that the only reason that he was there that evening was because of her kindness to him in his first film, and you can see that on You Tube.
Jean Louis was the main designer at Columbia, and Adrian at MGM was responsible for Joan Crawford's shoulder pads. When he saw her massive shoulders, instead of disguising them he exaggerated them, and started a trend in the 1930's that was revived again by Nolan Miller for Dynasty in the 1980's. Joan was also famous for her ankle strap shoes, which were known as "Joan Crawford Fu## Me Shoes."