Professional Documents
Culture Documents
\MERICAN
ENTURY
100 Years of
By
Hollywood
BR BR
YA
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,U6
A 59 7
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999
Contents
Cultivating Fantasy:
20
The
Birth of
American Film
Photographs Spring
56
148
164
188
108
to
The Lights
Follow
in
Hollywood's Sky
to Life
Hard Acts
Stars
Acknowledgments
Picture Credits
189
Bibliography
190
Index
100
YEARS
Ol-
HOLLYWOOD
Lauren Bacall
Cultivating Fantasy:
F\
dreams reached
the 1920s
and
stars
and the
its
late
directors
peak
1940s
and
on
people's ap-
their
in the
when
power over
Stars
way of life
that during
an average week
And
stars fea-
gazing out from magazine covers and movie posters, the faces entirely familiar but
still
like the
already beautiful
some
form of Hollywood
art.
Studio photographers
dramatic lighting
still
effect
transformed
shown on
these pages,
others an all-American
appeal.
seemed
larger than
Lauren
life.
Not, creating
Humphrey Bogart
in 1944's
portrait for
flair
The Big
Sleep,
To
voice,
distinctive
magnet-
ism while stoking the public's fascination with her recent marriage to Bogart. To the
studio publicity machines, the stars' real lives were additional fodder for fantasy.
made an
new crop
careers.
their
demanded and
got
more
own
trend toward greater realism sent moviemakers off studio lots and out on
location. Yet
wood
last.
art
all
power
to fascinate.
its first
its
movies and
stars retain
iiti^j-^ "liilitoi
^)
%%
Joan Crawford
'
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Gary Cooper
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John Barrym,
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Johnny Weissmuller
Ctiry
Grant
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Veronica Lake
James Cagney
<*LA
The Birth of
American Film
PHOTOGRAPHS SPRING
^
'
i'
TO LIFE
In
music
An
audience
locomotive.
hall
in Paris
in the front
panicked and
The mixture of
came moving
that
and viewers
reality
rows squirmed
illusion
produced by photographs
New York
and
at the
at a
in
only about two decades to evolve into complex, feature-length spectacles shown
in palatial theaters seating thousands. In the eyes of ordinary
critics
this
came
into
place, film
its
fans read
a 1924
as
MGM's
let
dream
form of
factories
(inset),
art.
And
while
movie magazines
magazine
Griffith.
all
as a distinct
Appearing almost
own
moviegoers and
(left,
Mae
let
Murray, adorning
By the
early 1920s
fifth
most
like D.
W.
lucrative industry.
pith-hehneted production crew shoots a scene for the 1921 desert epic The Sheik. In costume for the
title role,
silent-era heartthrob
of the camera.
Til
I.
II
()
AM
l;
C A N
III.
InThomas
W.
the world's
credit, the
New
right),
motion-picture camera.
first
Though Edison
work of one of
got the
his assistants,
K. Laurie Dickson.
Six years later the Edison
kinetoscope
(left),
the
first
Company
commercial system
for
showing motion
in a
the
pictures.
as a 50-foot
itself:
Pretty
films
women
*lf
we make
are asking
was
as
by,
it
and
this screen
for,
rushed
rats, trains
will spoil
everything."
In
an 1896 Edison
film,
May
cinematic
Thomas
projector
-.r
still
step
was
to liberate
large
on a
in
their tiny
profits.
But
from
its
creator,
else's
work.)
The
it
hit,
in makeshift theaters
all
hoped
^H
ii
^^^
Thomas Edison
him by
using cam-
registered his
indignation.
^^^
Having patented
first
in business as
ing big
money
(above, in 1669)
wus as feiudous
lab,
spend-
23
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103
191
105
109
patents.
Meanwhile, a
rival
II
I.
II
I)
1,
C A N
II
1.
in
motion-picture
Company
Edison
filed suit,
and
graph,
several other
companies joined
Company (MPPC).
They attempted
to close
fees.
down
honor
They
would-
forces as a
their patents
by paying
li-
and offered
The
U.S.
trust's
government
MPPC
filed a
in 1912.
community
called
the
in the industry
studios,
Biograph
"We do
not
know
Girl, a
review
known
its
young
Girl. Like
actors
and
woman
other
actresses
celebrity. In
up and
possi-
bly filmdom's
first
blasting the
dreamed
likely
his
new
lie
player's iden-
make her
a household name.
The
era of
anonymous
Biograph crew
ers
Jim
"circulated
Jeffries
(left)
actors
stars.
and Tom
a Biograph camera
25
100
YEARS Of HOLLYWOOD
Nickel Madness
A
/
s late
as
long.
reel
-X.
more
hundred
But
if
The
potential
Robbery
first
still
the Edison
in 1903,
drama
film, a suspenseful
that
up
escape. At the
first
titled
urban
it
fled.
storytelling
offered something
new
in
of
in a series
dance
for
hall episode,
some of them
grown
they had
brief,
and an
new medium's
a western shot in
Company
of
and technique.
feet
10 to 12 minutes' running
dollars to produce,
films were
reel
yelled,
it
again.
Within
the film
five years
in profits.
new
fire
The
right,
top),
train.
Tours,
became franchised
Movie
mostly working
ini-
Hale's
bought
dubbed
space,
railway journeys,
class,
to ballrooms.
Customers were
their nickel
Edwin
S.
"nickel madness,"
ences
26
in
one observer
called
it.
By 1907 there
a version
hand
Some
audi-
and average
daily attendance
had
1 1
Hale S Tours
TERMINAL STATION
18S,
of the
World
W,
man
car
(left),
an audience
were
magistrate assailed nickelodeons as "dens of iniquity," but the baby carriages outside this theater suggest that some upstanding ladies disagreed.
27
100
YKARS OF HOLLYWOOD
The
Moguls
First
who
men
medium's
possibilities before
open
its
started
source
anyone
to
by running nickelo-
them
else did.
in part
The
film industry
because
it
was considered a
had been
What
they
that this
Key figures
in building
Paramount
Pictures
who perfornied
in vaudeville
the trust,
Jesse Lasky,
with his
sister
and Samuel
into their
mechani-
their films."
Under
and
cal devices
stars.
moved
to
better,
and
Company.
It
Hungary
Pictures.
for
balmy
California, films
theaters
risktakers
New York
Production
who
Paramount
in 1888.
a 15-year-old
He made
good,
orphan when he
first in furs,
left
then in nick-
elodeons. But despite his success with the movies, he recalled, "These short
films, one-reelers or less, didn't give
that
was going
In 1912
Queen
me
to be permanent."
Zukor bought
Zukor chose
is
independent filmmakers,
28
success,
was a
It
up with an
Famous
Players Film
outfit called
Paramount.
if it
es-
Com-
II
"[His]
li
C)
II
1.
C A N
1.
all
certainty of the
mind of
a Napoleon."
Newspaper description
of
Adolph
Zul<or,
1912
Left:
Sam
Goldfish,
Squaw Man,
B. DeMille, reported
trust
Gunplay looms
and kept a
The
Jesse
in
Lasky
The
director, Cecil
revolver
and a pet
wolf on location.
29
100
YEARS OF HOLLYWOOD
In 1916
Zukor merged
Man
was the
first
whose 1914
Company
feature-length western
The Squaw
hit
made
in Holly-
Zukor soon clashed with and forced out Lasky 's brotherin-law and partner, Samuel Goldfish, winning control
first
Under
the overall
nation's largest
him
and would
often
built the
killer."
He dominated almost
called
the
all
morning
into
and dying
in
stretch.
1976
Fox.
at 103.
The
brash, overbearing,
and
indefatigable founder of
school at age
1 1
He had
to leave
when
24, he
arcade.
and
It
a friend
on
when he was
bought a penny
thereafter he trained
all
his energies
on
in 1914,
also,
draw
for
Tom
Mix. Another
(left),
the origi-
icism.
As the
erot-
Sinclair,
the
all
moving
Theda Bara,
costume
Fox
star
tra,
in risque
far the
own
But
its
Metro-Goldwyn-Mayer
He took
that a
The
in
Justice
Locw s
and
Fox's loans
came
due.
He
many
for
to
1:
c:
A N
II
1.
much
was
success in
as
years
finally rose to
lost
Carl Laemmle
He
another.
and
an auto accident
Universal.
a teenager
II
Inc.,
Carl
out colossal
his shot at
life.
Department decided
for three
making of motion
and
II
hands."
in
manager of a clothing
store in
known
to
One
calling. "I
cent
motion picture
theaters,"
me laugh,
body
else.
knew
motion picture
In 1906
right
remembered.
liked them,
away
later
that
wanted
to
go into the
business."
Laemmle
to exhibitors.
Laemmle
five-
When
started a
company
own
films,
IMP,
Company
feisty
Laemmle proved
to
be the most
vigorous advertising campaign while fighting off 289 separate legal actions
it
filed against
form
full
Laemmle merged
IMP
and then
young Mary
Pickford.
new
partners to gain
new
Cali-
31
u#
*''^.
iiM,
Mayer
(left)
in
1919 an independent
producer
takes a break
star,
ansfmlK
^:
*^
J:
'
>/
**.
'i
I
^
i
-^
"1
Till
it
its
own
his place
among
must be
Side.
Ambition
it,"
he
large
I-
1,
C:
A N
I-
enough
to
MGM's dominant
into poverty
on
was a byword
wolf
who
New York's
for
Loew. "You
rabbit."
fellow furrier
Adolph Zukor
what grew
theaters.
was
companies.
rival
as ravenous to reach
behind a fleeing
Lower East
II
R T
MGM.
to
in
running
be a mighty chain of
films,
he decided to go into
Russia,
down
figure at
Mayer got
a run-
making
wood
films
on
his
left
for California
division."
and began
made him
punched a
pomp and
remember
own
his exact
all
of
Completing
mous
He and
his partner,
names
to call
it
tion,
and Goldfish
gave
it
to himself.
sive roster
ny
never certain.
ible
last
MGM's
own was
as well,
famous
and
the
Goldwyn
liked the
at
Goldwyn
so well that he
built
up an impres-
Pictures,
rest
their
Pictures Corpora-
name
Although he
of talent
studio in 1916.
for
new
and
its
33
34
100
YEARS OF HOLLYWOOD
hand
hi 1919
he folded
in
me
new
Pictures
Goldwyn
II
1-
<:
t-
1.
Pictures
for
Mayer. In 1927
Loew
studio reached
its
make
Corpo-
studio,
li
out!"
I.
golden
III
Mayer went on
to
among
often
brotherly love
little
first
The four
tickets,
Don Juan
opened
sound
in the
man
the 1926
movies
Warner
of
assembles
Sam
They ventured
trust forced
in
in the towel,
melding
elusive,
and
after
industry."
capital
film with
talkie
more
just
feature,
Don
in a
The following
it
effects,
year, the
movie had no
talk,
"Who
he
said.
re-
little fi-aternal
harmony there
business,
lead pipe.
launched the
talkies,
active Warners,
lot
later
fierce
with a
in blackface,
The Jazz
New
Singer,
Yorkers
premiered
swarm
the
in 1927.
35
100
YEARS OF HOLLYWOOD
% /%
T
tions,
at the
nuts-and-bolts level
sophisticated.
who
an easterner
Born
in
Much
of the pio-
Thomas Harper
Newport, Rhode
up
1910 as an actor,
later
becoming
a writer
and
director.
The
next year, he struck out for California to supervise the operations of the Bison
still
Company,
a studio specializing in
In-
lot's
had
He
double as exterior
sets.
known
as Inceville.
William
tor
who
S.
ted to re-creating
sible.
it
as authentically as pos-
panache, Hart went on to star in westerns unThis 1918 view shows the filmmaking kingdom Ince ruled
buihiings
36
and
sets
studio
til
far:
He had
earlier.
Western
William
'III
r.
R T
II
or
C A N
III.
star
S.
Hart
Some had
when,
in 1876,
young boys
Armstrong Custer
"I
reckon God
wantin'
ain't
me much,
feel I've
the wrong
trail."
S. Hart's
character
57
100
YEARS OF HOLLYWOOD
The
No
Clowns
Silent
one did more
to tickle the
Mack
stage for the
two years
movie business
work with
later to
own
He showed
in
hand
director D.
a genius for
Mack
doubtfully contemplating a
as the director
and producer
matchmaking
W.
Griffith at Bio-
comedy
so he went out
it,
films,
on
com-
his
among them
Fatty Arbuckle
for the
famous
in 1908, set
at directing
New York
up the
Mabel Normand
Ben Turpin
agency's services.
Thomas
45, top).
films simultaneous-
on camera.
in
Later he be-
more
detail.
The
stick
with
cars,
and other
manic escapades
sorts of
madcap
^
,;
wood
lore, the
pie-throwing gim-
rolling
the irrepressible
actors,
who were
it.
Mabel Normand
at
it
Go
hire
some
girls,
any
it
girls,
so long as they're
pretty,
portraying
them
of authority
Mack
38
as self-important figures
III
[;
1!
l-
II
(II-
AMERICAN
1.
Kops
(left)
made
ii
his first
appearance as one
trolleys.
of the
Every
humbling
Seiiiiett
actor
officers.
f^\
'^s^'
JH,
that
its
I soldiers.
^-
^\
.11
Up
toward gunplay
(left).
in Alf's Place,
-A
J^
deliciously villainous
while
Mack
Ford Sterling
another Keystone
Mabel Norrnand
'T
star-
legs (right).
jl^jwrr-
^\\-
i^:/
-^
39
'^^^^1
^1
llln a1^H
1
nil
,
v..
k!
1liin i1
ridiculous:
it,
"Wherever there
embarrass
from
endured mishaps,
left)
it,
and thumb
collisions,
and
their noses at
Kops (page
The
said.
llee
it,
li
II
t)
I-:
C A N
1-
1,
iVI
dignity,
is
Till,
pratfalls
it,"
he
39, top
of every
who
be looked
An
who
all
to
work
Sennett
words, "around
alternative to slapstick
Chaplin,
went
at
w^ere, in
halls.
$125 a week
He
anci, like
Keystone Kop. But the slapstick-loving Sennett was, fundamentally, out of tune with Chaplin's style of
tle
characterizations
"made your
said,
ally
was allowed
and
comedy
sub-
Normand
By
Little
he
roles,
came
close. Buster
Things have
Keaton
on for dear
(left),
life in
Lloyd, as he hangs
Last.
was a
crossing
and
whose
regular in
Mack
rimmed
glasses
an
specialized in
He had
somewhat exaggerated
reality, as
for
doing
all
a reputation
his
own
stunts. In
fa-
In the film
One Week,
Buster Keaton
(left)
the
components
41
YEARS OF HOLLYWOOD
D.
W.
Griffith
He
gave us the
grammar of film-
He understood
making.
the psy-
So
who
David Wark
The
crosscutting, but in
Birth he used
them
more compelling
to
effect
maker had
before.
The son of a
mer
Civil
for-
War Confed-
joined Biograph as a
director in 1908.
Over
made 400
films,
its
prompted him
in
to
Birth.
two
families,
one Northern
and Reconstruction
the longest
movie
42
eras.
yet
At
made
Civil
2 reels,
in
War
it
was
America.
Its
D. W. Griffith gives instructions on the set of The Birth of a Nation. During the
liis
II
I-;
li
R T
1 1
I-
F.
A N
C:
I'
I.
blacks as dangerous
Klux Klan
KKK, defunct
since 1869,
Hgnant
1915
life
in
came back
in Atlanta,
The National
film's
its
to
ma-
using the
inspiration.
like
reformer Jane
Addams spoke
simply awestruck.
in
New York,
It
opened on Broadway
playing to
houses
full
and ran
for
at live-
44 weeks.
It
The next
an amusing novelty.
more complex
film. Intolerance.
The
lavish
to
mod-
theme,
title
set-
it
al-
failed to
production
costs, a
Griffith's career
untO he was
finally forced
in the 1930s.
Griffith's
tion
demonstrate the
director's
mastery of action
and
his careful
clashing (center);
Henry
when
enormous
producing
43
YEARS
10
The
I-
C)
I.
WO
15
Talent
Takes Over
Early
actors
by name, fearing
that
fame
When
removed, their
some.
the cloak of
fears
anonymity was
were realized
leader of the
upward
and then
salary spiral
went on
and
age 27 she
at
on her
sets.
In real
life,
willed,
stratospheric $10,000 a
week by
rate to a
1915. Char-
Bom
Gladys Smith
Her famous
lie
ringlets
in Toronto,
as did
own company.
W.
United
Griffith to
money
Artists.
form
Contin-
also
United
something to the
Artists'
integrity of the
terference
fi"ee
to
claim that
filmmaking
art
without
in-
duction and to
resist talkies,
And
making
silent
44
stars'
runaway budgets.
in Bcllinghatn,
Washington,
testifies to
Charlie Chaplin's
Till
So the
II
1-
I-
C A N
II
lunatics
Tramp adopts
immense
in
sits in
Tramp
role
whom
the Lit-
actors.
agile hero of
numerous
historical
Johnston
in
hit.
I.
10
A R
!I
An
HOLLYWOOD
1-
Evening
at
the Movies
A
s salaries
to
monu-
JL
began
audiences.
A sumptuous
fitting
out
to attract upscale
3,000-seat picture
opened
New York
But
in 1914.
uel
as
by 1910,
in evidence
its
manager, Sam-
"Roxy" Rothapfel
(inset),
visions.
Roxy
(right)
Rothapfel,
named
who had
for
spent
The Roxy
letter R. It
symphony
in air-conditioned
monogrammed
seats
housed a
orchestra, a
seated
10-piece
mammoth
pipe or-
and a
fully
equipped hospital
ill.
Sightlines
and
the ushers.
Picture, as
own
set
it
its
greater con-
old-time nickelodeon
wooden benches
46
at-
of cathedral
trast to the
its
a retired
in
with
interior,
and
II
II
()
!!
A \
47
100
YEARS OF HOLLYWOOD
bottom
Grauman
all
(opposite,
venue
He
in 1922,
built
an Egyptian-style
on Hollywood Boulevard.
nese Theater
Seattle
movie palace
(opposite, top)
an imitation
Versailles,
like
the Tivoli,
&
&
Katz theelectric
and
all
lob-
picture
the latest
Hollywood productions
(right).
them while
watch
up
sound
to
financial practice,
and many of the theater palaces were absorbed by the big studios. Adolph Zukor
puUed Balaban
&
in 1926,
industry
that
bled nothing so
much
as a big-screen epic.
The
Avenue Theatre
in Seattle copied
Impresario Sid
(left)
movie palace
111
li
t)
11
room
in Beijing's
L K
C A N
Forbidden
1.
City.
Grauman
created one
culminating
gaudy
after another,
in the
famous Chinese
world-
Theater.
f^ ALwAys-ToSiD
go
but,
may
anyway,
it's
splendor."
was for
prints
and autographs
wet cement
in front
theater (right).
in
of the
|-)AMb/\wDFoor PrInTs-CJ.S.
49
10
A R
[;
OF H O
I.
WOO
I Y
T^
was
star power.
near-mythic
status.
lived in a palatial
movie
Two
stars
of
feet
Norma Talmadge
images hyped by
press agents
it."
In the
enjoyed
alike,
struck Britain's Lord Louis Mountbatten as fellow nobility: "At the time of
their reign in Pickfair,"
and
in fact they
The
Mountbatten
behaved
in the
said,
same
sort of dignified
star's
life
led
Paramount
when
they
many a
repu-
to fire her.
fell
lives,
not every
way
No
and cads
gangsters
men
Italian
immigrant made a
on Ru-
of the Apocalypse transfixed female audiences. His next film, The Sheik,
him
established
Valentino blended dark good looks, physical grace, and erotic force in
a
way
that
his bracelets
And
and men
manding. His
dured
bova,
all
first
wife refused to
all
paramour proved
consummate
when
suddenly of peritonitis.
his funeral in
Among
nomenon
puff."
than com-
which en-
Ram-
at least
on
at the
peak of
a flickering face
and
New York,
50
less
their marriage,
Valentino, 31
power
powder
pled.
a "pink
Mocking
demanded
But
snort in derision.
a silent screen
com-
demonstrating the
could have.
The
Sheik, Valentino
Agnes Ayres.
"Women
.'A
'^^fej
'^
B. DeMille's
II
II
()
i-
h K
C A N
1919 melodrama Male and Female, which juxtaposed ancient and modern
critical
II
I.
scenes.
riage to a French
marquis added
to
her glamour.
53
100
YF.
ARS OF
HOLLYWOOD
most notably
in
Chaney portrayed a
series
Dame and
54
Gilbert,
on the
Tlie
and Roy
MGM studio
the doctor
and
lot in this
played both
He
1926 photo.
member of
a dis-
>
I
m^>
Shapin Worlds
on Film
THE HOLLYWOOD DIRECTOR
hat
is
drama,
also
knew
that building
Griffith's Birth
camera (page
at the
after
all,"
drama on
film
in that,
easy. In the
decades following D. W.
of a Nation, the 1915 masterpiece that demonstrated the evocative power of the
42),
art,
very center of the creative process. Although approaches to the job varied somewhat,
So pivotal a
major
and camera
role naturally
angles,
and took
drew strong
hand
coached
ing boots
and wielded
on earth
a crop,
matters." Otto
slightest provocation,
and he once
told his
staff,
seemed
to
made
de-
Hollywood's long-
On
actors,
else
life
during shooting;
member
at the
to a highly public
cattle."
know no bounds.
became known
Austrian -born
for his
wars with
studio executives over budgets, schedules, and content. For his 1922 film Foolish Wives he
set,
Hitchcock adopts an imperious look in a publicity shot for his 1960 classic of terror.
56
"
II iwiwimiHiiiiwimi
.rsoii
York
taxi,
on
office receipts
his
way
to check box-
^tnuu
,--'-
'IHbilN
/VKIH
;/
"V
2D<tel4MLE
^I
The
show
to
II
I'
WO
('.
IDS ON
III
of Monte
He then had
lot.
second
the
same
a colossal fight in
1922 with Universal's boy-wonder producer Irving Thalberg about those excesses, von Stroheim transferred his
talents to
Greed
(right).
Two
years later he
final
it
product
to a
in a graveyard,"
as released
is
$30-a-week film
by three quarters.
it
"It
was
like
cutter,
who
seeing a corpse
the film
era's greatest.
dentist,
how
and
director,
and
120-degree
in
title
charac-
to ravish
in
a boardinghouse in
midsummer
heat
in
Death
Valley.
Warner
more than
hundred
in 1926,
pictures for
Though he complained
that
"Hollywood
is
else,"
some of the
Curtiz
managed
to create
of the studio
finest pictures
era,
ventures of Robin
Hood
mortal Casablanca
Other
(1938),
and
The Ad-
1942's im-
(right).
gifted directors
Howard Hawks,
name
were
a few
Hollywood
waters,
like to talk
about
it.
When
(Humphrey
style,"
Rick
asked
reid),
in
manfully persuades
gather for
Hen-
the film's
about him and fly off with her Resistance-leader husband, Victor
59
100
YEARS or HOLLYWOOD
with anyone
who
tried to
mission of his genius. But his colleagues in the industry recognized that
Ford's
work was
thing that any of us has done you can find in a John Ford film," said director Sidney
but
all
director."
own
at
cast
Barbra
star,
five decades,
Wyler adapted
many
function of a director
to
Tlie
earlier, in a
War
so convincing that
it
caused a
spanning almost
in
Kane
unprecedented
artistic
effort,
it
drama of a
and
unflattering
fjg^glJHH
^^^^^H\1
film.
Thus
it
critics
the finest
it
American
and
late
1940s
films independently.
As one
critic later
It
many
leading directors,
began trying
to
produce
work with
familiar actors
and
for
them
crew.
As a new generation of directors came of age outside the studio system, creativity surged.
to his
Huston
and
worked
briefly
60
took one of the oldest Hollywood genres, the gangster picture, into new
and more
Arthur Penn
Sam Peckinpah
and
Clyde.
did the same for the western two years later with TJie Wild
as
Roman
who
filmed
tilni Pitllh
^1
/\
(,
O R
1.
1) S
ON
II
I.
breakthrough science
1964), the
Space
and
In the 1970s
own
superstars in their
emerged
'80s directors
right.
as
Spielberg (right)
after Spielberg's
phe-
Star
E.T. (1982),
its
sequels.
And
film audi-
Allen, Robert
yells
when one
women
good,"
hardly stood a
On
drama
Schindler's List,
and masculine
prejudice,
alist
comedy
then directing a
on
Bow and
to direct Clara
March
Fredric
Women
in
Paramount's
Crawford.
Much
later,
Hepburn, Rosalind
directing. In
woman
1976
to be
War
II
Italian
nominated
first
Campion's
script
make
and
Beauties,
New
a brilliant
Honor
fitting,
and
first
harrowing
(1985),
since
and
'50s,
new
(1987).
The
title
of his
film tech-
John Huston,
(1975),
last
film
was
he had
their
work:
Hanks on
1988 comedy
"Each picture," he
of
lives
in his factory.
forays into
too
them
and Joan
(right),
all
sound
drama Seven
on was nominated
Prizzi's
She went
Russell,
made
from
shielded
release.
'World
in 1927.
who
said, "is a
world unto
itself.
Tom
Big,
A former
which
televi-
when each
life
picture
is
finished
and
that
little
Jumpin Jack
6i
11
1'
C;
WO
1.
ON
1-1
Masters of the
Big- Budget Epic
A
/
showed
among
itself early
B.
100
He
feet tall,
also
extras
time.
Through the
wrapped
the
Wind
700
feet
became
wide, and
for the
the biggest
romance and
vi-
In a California
and
silent era
histo-
moneymaker of its
movie
same general
recipe
(right).
800
by the extras
arrayed
in front
in Civil
War-ravaged
Victor Fleming's
Gone With
the Wind.
ex-
discreetly
of the meticu-
and
'60s,
Hollywood, compet-
new wide-screen
for-
wowed
and Roman
(1953),
Ben-Hur
(
1963),
the
epics, including
in
The Robe
and DeMille's
final film, a
World
Biblical
Cleopatra
Around
was
Lawrence of Arabia
art, too.
Command-
In 1962's
(right), director
David Lean
quence:
tiny speck
it
reveals itself as a
man on
camel gallop-
was seen as
risky but
proved
brilliant.
63
I")t(cfc
Soup
Gr^^^^arx cavorts
T.
Fin
of Frei
S II
1'
Ci
WO
II
ON
I,
A Range of
Comic
Flavors
In
to
sweep
all
girl,
The
as a
heiress
at
the
romp put
runaway
Hap-
It
Hollywood pantheon
several scenes
including one
in
which
on
bert's in the
thumb
if it's
comely female.
comedy described
movie
as "screwball"
on
refers to
and dips
in
In Bringing
Up
created westerns,
tails
Shakespeare
and abrupt
in 1938
and
who
mistaken
reversals of fortune.
with
center).
Howard Hawks's
finds himself
Howard Hawks
(above),
as well as comedies.
of the sexes,
Up Baby
^^4,
.^jiiifcj^^KA__.
(right, top
_.
-.
^^r^Ml^j^HK^
tweedy paleontologist
beaned by
as old as
Bringing
thrillers,
his will,
socialite. In the
with
ensuing ro-
is
^VHHH
V-'^^^
Duck Soup.
rattling,
their
own
inimitable
and saber-
mk
ruler of a
romance Adam's
Rib,
65
V.y
J^
game of jacks.
1'
N G
VV
C)
R L
C)
Groucho
its
Groucho and
like
tries to
convince the
McCarey, also worked with such icons of comedy as Harold Lloyd, Laurel
and Hardy,
Mae
West, and
W.
C. Fields.
life
in July (1940),
after a wild
young Dick
spending spree
in a
da, Colbert
Preparing
Billy
when
it
J.
to
Wilder
oflrma La Douce, a
D. Hackensacker, played by
1963 comedy
gendarme
lover,
who has
to
wear
and her
disguises be-
hubby of her dreams, love-starved McCrea shows up, and she has second
cause he
Some
rich.
is
tors
cer
their best
Up Baby,
the outspoken,
re-
(1940). In 1949
later
65),
they returned as
istry,
became the
Co-workers on a
Billy
Wilder
(right, top),
known
for such
bumpy road
Wilder's
to love in Billy
Lemmon
rides with
demnity and The Lost Weekend, also wrote or directed some sparkling
Lemmon
trysts
until
it
with MacLaine.
67
)inkW'
^tA
wi"
"-ywite
4^
Actor-director
matozoon
in
from
as a sper-
Wanted
to
to
Know About
Sex
moment
of launch.
Minor (1942),
the
Stala^i 17 (1953),
67). His
luii
Cairtis
and
ll
Jack
1955),
an
all-girl
66j, set
Lemnion
as jazz
itself,
reached
sie (right), in
in love
full
comic flower
clothes to get a
ade,
I'
(I
C)
I,
I)
C)
I,
women and
join
definition of sex-
in
II
and 1960's
Hoi (page
man
while her
TV
soap opera
who
part.
He proceeds
to
father, equally
Just as screwball
and
status, the
(left)
miserable
you're miserable.'
Woody
Allen, in
Annie Hall
won
the Best Picture Oscar for 1977 (along with Best Director
Screenplay) with
its
bittersweet tale of
but
late
two
who
angst-afflicted
meet,
fall in
still
hilarious
way, and
his
love,
in a
and Best
New Yorkers,
and
split
up.
more poignant
Sisters
(1986) delved
even deeper into the urban psyche without losing any of the laughs. Hip
but worried, smart but self-absorbed, forever obsessed with sex, Allen's
leading characters
phisticated terrain of
galleries,
Though
heiresses
Manhattan
inhabited a so-
films,
human comedy.
like
the
Jessica
hand
in television for
at movies.
r-iwr!^^-.-r'/.Ai;ii;j_.i_p^ jc
At
the
end of John
Ford's
War
Wayne
Taut Tales of
II
1'
C,
IDS ON
III M
also
loward
the Frontier
More
pioneers
challenging landscape
eties in the process.
typal
who
it
only
when
laconic, self-reliant,
necessary. In
native soci-
good with
who
reluctantly takes
George Stevens's
up arms
and
the
to rescue
Amid
the frontier
male world.
male archetypes
(page 72).
in his starkly
Gary Cooper
is
these male
drawn 1952
classic.
a sheriff about to
fe-
offered
no
72).
The hyper-
set in 1913,
gang of killers
The
and
feel
gunning
director
of the
is
for
it,
most responsible
classic
western was
1946)
his style
1939 in
Monument Valley,
Utah,
worked
"
his
When
he
Film icon John Wayne stands with the master of the western, John
Ford, during the shooting of The
(1962). Ford directed his first
learns a
long after
High Noon
hang up
Kelly.
killings. In
and
the west-
Zinnemann explored
violent film
Director Fred
Butch Cas-
Hill's
former gunfighter
and played
the lead.
:.
YEARS OF
H O
I.
I.
Y VV
O O U
Sheriff Will
faces a
gang of
desperadoes in High Noon. The story reflected the travails of the screenwriter, Carl Fore-
Sam
troops, outlaws
72
of
Hollywood
lived
and died by
in a blaze
in the 1950s.
Surrounded by Bolivian
1969 mixture
Bunch
in
the gun.
Newman) and
the
Hilt's deft
critical hit.
'^
^
^,
'
II
A P
{,
WO
1.
ON
II
I,
Common
The
Man
Hero
as
string of
memorable movies
T^he
made by Frank Capra
1930s and
including Mr.
(left)
in the
'40s
Deeds Goes
to
the director's
critics
a strik-
tive:
it,
bore such
and even
(or, as
a self-mocking
that
adjec-
some
Capra put
umph
It's
tri-
nia
from
Italy in
1903
at
age
in Califor-
six, later
it
It's
a Wonderful
common man
The heartwarming
first released,
staple
but
on TV.
sup-
become
the
and went on
most popular
to
director of his
day,
seen at
its
Goes
Washington.
to
on the
and
to
of physical collapse
corruption
it
movie
history.
lit-
nality.
bing away
tears,
loved
it,
newcomer holds
Mr
Jimmy Stewart
Smith Goes
to
cli-
would be suitably
raspy.
75
"SS^ifci,
r^-/
S II
I'
(i
()
I)
I.
ON
II
I,
Journeys into
Gangland
Growled
threats,
of sirens
terrified
and
wave of gangster
early 1930s as a
films took
F.
led the
for pictures
to their
among them
Edward
in
Little
and fast-paced
G. Robinson guns
Warner
rected by
role.
of
in the lead
ences with
is
With
his
Enemy
It
(left),
recounted
when,
flair for
in 1931,
directed by William
mesmerized audi-
cornered by cops at
When Robinson
its
conclusion, he
re-
grimness.
its
defiantly yells,
Raft, ap-
less
a joe
dialogue.
LeRoy. Although
The most
down
to escape
tough
Cagney
talk,
he appeared
Wellman
in
The Public
(right,
youthful character,
ig-
bottom).
Tom
Powers,
William Wellman, director of The Public Enemy, had tough-guy credentials himself
A former professional
and earned an
fell
into a
life
at
it,
at
one point
ridi-
Though crime
how
he's
to be poor."
yond
who outsmarted
the law
and
bad guys
polite society to
women. Cagney,
for example,
became famous
Enemy
in
for
which he angrily
;
in
World War
aviator's wings.
The
who
drew
films
criticism
and shoves
in
I'
c;
R L
(1
I)
ON
I.
and
politicians,
criminality.
from censors,
Under
sociologists,
lifestyle. In
V!(i-
^^-
films such as
"G"
Men
became
good guys
all- American
.:
and Warner
gels
An-
With Dirty Faces. Cagney played the vicious mobster Rocky Sullivan,
to the
dismay of Catholic
priest Jerry
Connelly
boyhood
Rocky
is
pal.
When
condemned
to
death-row plea
the
killer.
priest's
to
Taking the
appeal to heart,
Cagney marches
to-
by assembled
who do
reporters,
not
know
of
its
and
realize that
it
80),
doesn't
make
heroes.
away
ally
Faye
and
in a tide
old-style
movie
star allure,
(inset)
Clyde, based
all
(left),
of blood
Dunaway
and
murky
real-life
brimmed with
to the
on the
witnessed
is
felt
the film
to
wash
it
over again.
Clyde. Arthur
79
a genre
F\
was soaked
"black,"
cynicism
in
Populated
II.
domain of cheap
and nighttime
hotels
little
city streets
and
Tuttle
role.
starring Alan
deep shad-
Gun for
promised
fatales, its
An
example
early
Ladd
hallmark tough-guy
in a
MacMurray
murder
as-nails
in Billy
Dana Andrews
(left,
M.
Postman
Always Rings Twice was the basis for Tay Garnett's 1946
masterpiece. French-born Jacques Tourneur's
Out of the
Mitchum.
Time
Dana Andrews
sex.
filled
left
and uneasy.
In John Huston's
to
something about
some world-weary
man's partner
it. It
is
Sam
hard-boiled detective
Humphrey
"When
(right),
killed he's
doesn't
private code:
supposed
make any
to
do
difference
what
you thought of him, he was your partner and you're supposed to do something about
in true noir fashion,
8o
and
it."
The meaning of
it all,
remains impenetrable.
in
Humphrey Bogart
vies
gem-studded
statuette.
^i#til
<i^A
^*<lv^
W^
100
YEARS OF HOLLYWOOD
Gritty Portrayals
of City Life
A
/
-A-
War
JL
and often
textured,
World
II,
the settings,
their films.
after
more
that were
far
more
more
realistic,
richly
Kazan
like
subjects, of
common
(left)
put
it,
was "to
things of life."
cast,
Kazan
set.
master at bringing
was taught
Method
at
to
Hollywood
member
more than a
theater
of the
Communist
when
takeover of the
it
goes
their
people
Kazan, 1981
Communist
later,
during the
most
private
Committee, admitting
ship and
whose
Elia
It
into
a pariah
penetrates,
in the
among many
is
'40s,
A genius at inspir-
"The camera
New York's
1930s and
in the
late
act-
his
own
past party
member-
colleagues,
some of
who had
one
it."
did hurt
some
people, you
and
said,
"I'm glad
Perhaps because of
masterpiece,
82
On
side."
is
1954
a study in the
In scenes
from
corruption
Elia Kazan's
and
On
mob
beating (bottom
left);
and
strides past
his brother,
S II
I'
CharUe (Rod
(,
VV t)
I.
1)
ON
II
1.
own
right).
83
m
Hustlers Dustin
Hoffman
New
matter drew an
later revised to R.
X rating,
The black-and-white
ambiguities of betrayal.
Academy Awards,
New
around
loy,
among
own
punishment
integrity.
act of
informing
Academy of Motion
would
crisis
C)
1,
1)
C)
I-
1.
when
of conscience:
cioing so
would
"They always
tell
girl
is
he
loves,
another his
me
is
to
in 1952,
later
all
forged a
his
new
something
di-
TV while
still in
his teens.
He
later directed
rock-and-roll flick
Good Times
to the
behavior of people
about gay
that
for informing
Picture Arts
(,
bum."
ain't a
Kazan would go on
own
brother. His
his peers,
his choice
mob murders
"Well,
be anathema
belief in his
whether to inform on
own
lihn,
He makes
S II
life
The Boys
in the
daring film
Band.
hadn't seen on the screen before: the truth behind the posture."
The new
the '60s
and
style
'70s,
John Schlesinger's
Hollywood movie.
first
New York
to hustle rich
tled himself
streetwise
man
who
of a Texas
arrives in
women and
for $20by a
con
tale
is
hus-
sickly, repulsive,
name
(left).
doomed
Ratso.
The
and
tears,
Academy Awards.
a lengthy,
William Friedkin
(right, top) a
thriller
won
Best Director
which pitted
New York
Marseilles hit
man
is
gunned down by
New
85
100
YEARS OP HOLLYWOOD
Hackman
as Popeye, de-
spite the liberal actor's disgust for the bigoted, racist, dishonest but dedi-
cated character he portrayed. But the film, as Friedkin said and showed,
line
hit
young new
directors, including
thriller
group of
Spielberg (page 108). All had been fascinated by film since childhood,
all
to the harsh
rected his
first
man
of
many
through
Robert
Martin
and
De Niro
as Jake
Scorsese's
LaMotta
takes a
punch
on the
set
of Taxi Driver;
De
di-
and founded
as a director
own
his
first
in
director confer
By the time he
THX-1138
parts.
ture stars
overnight
classic, effortlessly
characters of those
who
became an
life.
it
it,
realized, tragic
film
and
Morte
like
some guy on
Scorsese grew
spired by the
up
d'Arthur.
its
sequels,
said, "It's
My stuff
New York's
in
like
Kazan's and by the new-wave style of directorconceived, or auteur, movies arriving from Eu-
saw
and, in particular, in
life
home
in the streets, at
my
church. There
found
and
erotic."
partnership with
(left).
Method
Together they
86
made
and enigmatic
actor Robert
De Niro
a string of tough,
including
Mean
Streets
Stroking a favorilc
Don
cat,
Vito Corlconc
~'
terfamilias
chieftain in
father. His
an
offer
and Mafia
The God-
"Make him
he cant refuse"
10
F.
A R
or
HOLLYWOOD
?v.
m ____
.K-< f^
TfmTf
I
^^
1
^^"\
rr^
Lights reflect off cars on a hot South Central L.A. night in Boyz
ton (inset).
The
urban
life
N the Hood,
s II
I'
N G
VV () R
1.
ON
hit
man
I)
ill M
traffic lights,
noise,
and
neon
demented, often
improvised voice-overs.
Revolutionary and iconoclastic
time, Scorsese
and
in their
way
for,
and helped
Among them
di-
ties
102)
24) to garner
(at
and screenwriting
men
(inset, opposite),
work Boyz
struggling to
N the Hood
it
reminded people,
as
life
reali-
one
in
critic
reality
put
it,
and so vibrantly
Justice,
and
Travolta's
restored his
Fiction.
remarkable acting
long-moribund
career.
This story
(left).
situation in
both directing
for
evoking the
life.
maker
Asssss Song,
Vin-
is
act-
and
can
also a
which showed
make
a jol<eout of
it."
film
Tarantino,
His bloody
whose
first
film education
video store.
in a
classic.
He
entered the mainstream in 1994 with the outrageously violent but darkly
funny Pulp
Fiction.
Awards
ever,
and won
It
tales
of small-time thieves
was nominated
for seven
most obvious
Academy
virtues,
how-
were the sterling performances the director drew from actors John
and Bruce
Uma Thurman
(bottom
right),
Samuel
L.
Jackson,
Willis.
89
100
YEARS OF HOLLYWOOD
Directors as
Men
Music
T^
Singer (1927)
ary film
artists
and then
languished.
It
took vision-
for escape
new American
E Zanuck, who,
go to Darryl
First credits
The Jazz
in Al Jolson's
from the
genre.
despite the
1933
to use a
first
as choreographer.
The
result
of 42nd
Street's
line formations.
studios.
series
of
and she
gives
him
sex,"
its
famed screenwriters
producer,
ofOz
lyricist
Arthur Freed. He
like Betty
Green,
songwriters from Irving Berlin to Alan Jay Lerner, and directors like Vincente Minnelli.
After assisting
Busby Berkeley on
'eft,
Co-directors
ley
Donen
Gene
Kelly
and Stan
smash
Strike
hit
Up
the
Meet Me
Band
in St. Louis
whose theme,
like that
had
al-
ready collaborated on
Broadway and
in
arid
like
home." Minnelli's
and
working
in
of senti-
Hol-
the Town.
On
Minnelli
IMf^^
Zt
.*-
:X
^IFrtt
o
*^^it
m^^^^^^M
Ik
number
-Jl^
in the title
to the
exuber''
YEARS
10
would
HOLLYWOOD
An American
from Broad-
Gene
way, dancer-choreographer
19518
Kelly, in
based on a
in Paris,
George Gershwin tone poem. The FreedKelly collaboration, with co-director Stanley
Donen
written by
its
peak the
in the
fol-
Rain (page
decades of Freed's
own
songs.
office
The Music
Gigi (1958),
Fair
Man
(1962),
My
more
The
first
edgy,
by lerome Robbins
ur-
in the wings.
of these was a
more
Story.
96 1 adaptation
Choreographed
Romeo
the tale
(right),
Chorines with neon-lighted violins form a flower in Gold Diggers of 1933. The
and Juliet
transferred to
New York,
with
mu-
lavish spectacle
sic
heim
became cinematic
in the
hands of
on
location,
Bob
won
10 Oscars.
Cabaret (opposite),
work of director-choreographer
it
60. Fosse
a heart attack
not
surprisingly,
nelli)
tale
and her
The
comment not
lovers,
when he
only on the
which
and women
strands of story
92
for
didn't always like him," co-director Robert Wise said, "but they respected him."
"
*
H A
I'
t;
WORLDS ON FILM
at Berlin's Kit
Kat
Kliib,
introduced
and supported
sleazy chorus.
and
ist
The film's
painting were
stylized sets
always thought
would be
was romantic.
People would mourn me: *0h,
that young career.'
dead
at 25.
Bob Fosse
It
and
inspired by
German
the briUiant
Expression-
work of director-
"I
one
100
YEARS OF HOLLYWOOD
War
Bringing
to the Screen
"^
% /%
T
and
of American characters
Combat
war.
What
bilities to
the director
for instance,
and
his era.
view of
after
World War
II,
many
soldiers in battle. In
the
their lives.
at
real-life
and had
democracy
Allied
POWs, The
and
realistic
look
at
F.
Day
(1962).
A much more
grim
Spielberg's 1998
whose
SUWkI ***"
^=/Vi
Private
Borgnine)
94
in 1953's
From Here
to Eternit}'.
eight Oscars.
^-*
K-^nlfiiJent
Geo
iloiiiiiuini pert'
stiy ihiil
Ptttton
itut lavish
n'lm-
onvnuin
wc
100
YEARS OF HOLLYWOOD
Omaha
matic look
at
moviegoing pubHc.
to the
about
idealistic
War
novel
All
Quiet on the Western Front, also offered a nightmare vision. Fine act-
ing
stance
film a classic.
tale
of
II
Here
to
on
Pearl Harbor.
David Lean
men
The Bridge on
in
POWs
in
in
best
rA'S'H' is *e
comeOj
tmetit" ar
which
lost
Now,
Kwai
the River
in a Japanese
who
wartime situations
since
War
America's pre-World
^^'
camp
their brave
sumlarnei_^_^
new
masterpie<*;SM_it^twce_^
M-A*H^^'^j^^^nl
brilliant
George C.
on
MASH
Getting his
typical response to
of the
authenticity resulted in
The
series
funniest was
(inset),
whose
setting
first
in the
Hollywood book
The most
Scott's portrayal
epic, Pat-
II
ruthless insistence
A more
War
TV
conflict.
director Robert
in filming
MASH's
Altman
virtually
Now
(right),
which followed
GIs in Vietnam on a descent into madness during a mission to assassinate a Green Beret officer (Marlon Brando) gone off the deep end.
so ugly that the
situation
is
Sheen,
told
is
"does not
by
exist,
gle enclave,
commander of the
nor
will
it
ever exist."
The
When
man
with murder in
this place,"
he
Lieutenant Colonel Kilgore (Robert Duvall), sport-
thinks to himself,
The
96
film
is
at the
Indy 500."
napalm
in the
morning."
,.7
stands
^V.V;
r'^Vt-^HC
.1^
PVilt
l^^
.^^
VU
'^l^-J*--
'.:^
Films That
Tweak
Inspired by
Fears
movies have
Browning made
genre, filming
name
Lon Chaney
in a
on the
number of
actor's terrify-
93 1
thriller
who
Dracula
effects.
Frankenstein
(left),
starring Boris
Karloff.
later
Four years
Whale followed
up with the
wildly
eccentric Bride of
Frankenstein, casting
a weird-looking but sympathetic Elsa Lan-
From The
marked the
Mummy in
directorial
1932, which
debut of Dracula
Wes
little
grisly
fright
stories,
bloodletting.
1978
hit
Hal-
Nightmare on Elm
Street
launched a trend
^RlMtSTmTAim|T^
99
10
YEARS OF
H O
1.
1,
Y VV
O O D
The Master of
Suspense
A
"W"
% /%
/ smoldering
sensuality,
and
tro of
Grace
Kelly,
situations. "I
blonde
in perilous
woman
that his
usually
to see her
thought
was only
this
films," said
in the plots
of his
attic
left
her
behind be-
expertise, he
montage
view.
made
editing,
Thanks
to
and
shifting points of
cameo appearances he
became
(right),
picture," led
which he
one
slyly called a
"fun
mischie-
////W/cdci's
I960
hit
shadowy
Victori-
synonym
for
an undesirable lodging.
-::>
,.*f
100
YEARS OF HOLLYWOOD
Mavericks of Moviedom
Director Spike Lee's surprise
I
It
showed Hollywood
could be profitable.
1986
hit
comedy
She's Gotta
urban themes
mentary
in his
at
New
social
Do
com-
Have
The
racial tensions
film
surround-
(below), Lee
reexamined the
life
running time of
102
Malcolm
title role in
more than
Malcolm X, preaches
to
at the
al
11
1'
(,
VV
1) S
ON
II
1.
in a
(right).
He began
Salvador,
nalists
commercial success
and
first
smash
Vietnam War,
in
life
that
my Award
their
He continued
1986
tale
of jour-
Bronze Star
Tom
movie
as
Hollywood's
his hard-hitting
fire in
as a director,
many Vietnam
politics in a
so true to
hit
winning an Oscar
The psychotic Sergeant Barnes, played by Tom Berenger, threatens a Vietnamese child
in
& Earth.
103
YEARS OH HOLLYWOOD
100
won
which Stone
his
a conspiracy
officials,
cized as a fanciful
among
was widely
criti-
open sealed
on the
files
assassination.
Three thought-provoking
Stanley Kubrick
The
placed
squarely in the
(riglit)
most inventive
hits
ing a lunatic
German
scientist
and an
and sound
the
accompaniment
mad
in
of
jaunty music
to
advance
his cynical
fiction
make and
years to
al
landmark science
Director Stanley Kubrick (right) choreographs a savage rape scene carried out to
effects.
Melding space
travel
film virtual-
Kubrick's
damned, the
scenes of stylized
His
mayhem and
last
work before
who had
director.
torture that
astonished
ers.
his death in
thriller
1999
Eyes Wide
Cruise,
"Suddenly
he'll
how
say something to
he creates a shot,
In Dr. Strangelove, Peter Sellers as the
and you
realize this
Cruise. "This
104
man
man
is
is
different," said
profound."
he played
ntilitary
and political
folly
and
title
character
ex-Nazi persona
the
one
in Kubrick's
iimn
2001:
V..-^
P
*
Dave Bow-
made
the film
an
effects,
::
liPlipMiMMP'
CoMtrifii*
i
H
^
Ctciotriit
Fo?oco#n
4
1i
S 11
I'
(,
C)
1,
IJ
t)
from
Influences
Abroad
A group
from
art
house obscurity
release
won
made
innocence that
lost
With La
outrageous fantasies,
Cementing
sins,
Fellini's stature as
Liv
fronting her
own breakdown
in
to
Face (1976).
8^
From
upon
the scene
with Ran
new-wave filmmaking,
auteur, giving
primacy
in
to his
own
visual
and cinematic
emphasis of screenwriters.
make
the
new wave
fa-
upon
the 1957
and
worldwide release
Life Is Beautiful,
of The Seventh
Seal
and Wild
and
wits,
his
camp
love.
Strawberries, with
their surreal treatFellini cast his wife, Giulietta
faith, alienation,
and death.
lovable Gelsomina
(left) in
La Strada,
carnival strongman
and a simpleminded
his ex-
between a
waif.
107
^"M
'J
#^^'
Manufacturing
the
Dream
*
sweat the
like to
I
and
director
E.T.:
details,"
and producer.
On
make
it
(left),
in 1997,
came out
who
still
artists,
but
exactly as
happen
Spiel-
and producers
and
making
depend upon
stunt performers,
and
the people listed in the closing credits, whether they create sparkling dialogue or
Savvy directors
fiilly
appreciate
even
relish
the
work of these
I! rex.
He
if
something
is
life
experts.
computer-
Steven Spielberg works on the set of The Lost World: Jurassic Park, undistracted by the immense model of
a dinosaur's foot, a product of the vast off-camera effort required to create a movie.
109
100
HOLLYWOOD
YEARS OF
Mapping Out
This excerpt from
Movie
Words on Paper
Gone With
the
Wind
Hke
b.g.
for background
and assigning
WAGON
Burning buildings
number
to
each shot.
AT RAILROAD TRACK
Rhett gets out of wagon, goes
in b.g.
to
253
may be
he screenplay
for filming.
It is
also,
(left),
RHETT
(pulling at horse)
Come
on!
Come
on!
a blueprint
all insist
on
Throw me your
changes, sometimes to strengthen a character or resolve a
shawL
problem
sometimes
just be-
254
man
put
it,
When
the shawl.
255
GONE
who
HEAD
He
ties it
around
cogent
horse's head.
fire
RHETT
it
better
if
down
to a
the
script.
and
F.
you don't
Scott Fitzgerald, to produce
new
versions of the
see anything.
screenplay,
WAGON
AT
(BURNING BUILDINGS
R.R.
TRACKS
all
mound
of pages eventually
IN B.G.)
filled
an entire
when shooting
257
IN
BOXCAR
The fire
is
on,
He pulls
fi-om
RHETT Come
who
background.
Come
on!
humous
and then
leads
him
four
months before
the film's
effort
won
a post-
December 1939
release.
is
EXPLOSIVES
IN
BOXCAR
much
nearer.
ly labeled
after they
from studio
still
clear of flame.
away from
A moment
executives. Jack
Warner
scornful-
CAMERA
respect
commanded
much
offices.
And
those
who both
direct
and
reach their climax, the boxcars start to blow up, the largest
building at the
left
110
collapses,
and
the
write, like
enormous
Woody
creative control.
storyboard of thumbnail sketches, based on the screenplay, allows the producer, director, and others
at top by William
the
designer for
Gone With
from
Selznick's
back
lot
to visualize
and Rhett
A N U
1-
A C T U R
C;
III.
>
I,
Designers Set
the Scene
Robert Boyle, a top Hollywood production designer,
was able
as
he put
"what a
from
liar
the
camera can
and
reality."
thriller
classic
convincingly.
lie
be."
the locations,
sets, select
knew,
The screenplay
Mount Rushmore
MGM studio after Hitchcock was denied use of the real thing.
National Memorial.
But the U.S. Department of the Interior refused Hitchcock permission to film on
site,
and he
in
felt
on
a studio set.
is all
real
casts
of the
came away
monument.
any case
room
clever designer
while constructing
A painted
footage of miniature ships floating
on dyed
ington,
ers use
their
water. Design-
Thomas
Jefferson,
commitment
Presidef^t's
go to extra-
Men
(1976),
own
sets for
Ill
North by Northwest, Cary Grant and Eva Marie Saint pause un-
der
Thomas
Jefferson
chin
(left)
The
real
Rushmore makes
on location
in
its
113
100
YEARS or HOLLYWOOD
A World That
of
Oz
Wasn't.
Although
more
sets
this
in the business.
L.
artist
tiny
of the
to
on location
and painted
the scenery
The world
a special challenge:
in the
for
to
imagination of author
Frank Baum.
Bringing
Munchkins
it
to life
whom
one of
played by dwarfs
mushroom-shaped
to the size
had
it
drawing by
The Wizard
in the film.
hard as
nails."
The
original
his assistants
book contained no
and
illustration
it
to the scale of
its
diminutive residents.
home
needed
it
As the
City.
MGM's
art
German drawing of a
"test
artist said.
in its infancy,
still
new
week finding
that
color vocabulary.
art
was cum-
department had
One employee
spent a
related problem,
making the
film.
Another color-
carriage horse in
Oz
turn
every hue of the rainbow, was solved by using a succession of horses and sponging each one
This sketch
is
an
artist's
size
and arrayed on
make
terraces
the
down
The animals
with a
differ-
did, however,
around a
tend to
In
smaller.
sound
lick off
all,
most of the
about 60 Oz
sets
Jell-O
between
were built on
shots.
six different
and
land (opposite). "I've a feeling we're not in Kansas anymore," she exclaims.
The
bridge, pool,
and flowers
set,
114
On
but
still
so vivid that
when
n.
^'^NPV
"^BarjBjj^R
Hftk
'
1
^^m
-f'/^
JS^^MKk
-^ ^^; HySE^
v^'
ifli^
.-
f/
,^
vfy
'^.-
.'**
.:^-
A N U
Drama
with
want
my
clothes loose
enough
Mae
make
effect that
she helped
In a career that
Head
in
(at
left,
about them."
costumed the
films.
a century.
stars
seamstresses,
and
milliners.
at
fit-
Few expenses
a single
mour
in a boldly
Kelly in
Rogers in Lady
legend for
its
in the
still
Hollywood
working into
gown
prompted
and
outfitting Paul
Head saw
and bell-bottom
Newman and
men
in
The
Sting.
combination of
had no
own
secrets
secrets
was
bare."
One
of Head's
No one
list.
else
director Alfred
It
I-
A C T U U
C;
T H
f.
DREAM
.J
>
h A R
or
HOLLYWOOD
unique double-
Oscar distinction
with
My Fair
adornment of
Audrey Hepburn
(at left)
won
Best
Costume Design,
and
sets
Edwardian-era
his
once declared,
that will
when
"I
buy
in a store."
movie
want clothes
is
anyone could
making sure
that the
Making
.''
In
My Fair Lady,
Hepburn goes
races in a
as
ing,
scene.
Elizabeth Taylor
dowdy
Audrey
to the
Ascot
required
^'
ly
ty.
all
is
carefully cut
to
be
as unflattering as possible,
they adorned.
wrong
places.
Sylbert,
just the
Designer Anthea
commenting on
new kind of
this
authenticity, stat-
It
118
r*-l
Show Business
(1954)
No Business
William
Like
Travilla
A N
'\
'
C,
Mil
l(
x:
119
10
A R
()
HOLLYWOOD
artists
faceless.
T^
who
The exceptions
usually remain
mores, a four-generation
makeup
apply movie
celebrities in their
own
beautifying silent-film
footsteps,
His
stars.
six
sons
all
followed in his
members of the
next generation.
the
human
face has
on the
grown
tablet
increasingly
made
on
prosthetics
of
relies
artificial features
add dramatic
human
Big
Little
Man
(1970),
makeup
artist
(in-
tures in clay.
were
filled
thetics.
with liquid
latex,
of prosthetics
day's filming.
took
five
final effect
spots
and
veins
and then
to
to paint
more
set
for each
clay features
all
the
liquid
was so powerful
that people
on
the set
For his
lengthy
makeup
Big
found
that were applied to his skin weighed several
him an arm
as
if
he
really
pounds altogether
former frontiersman
(right)
who claimed
to
be 121 years
old.
10
YEARS
t-
HOLLYWOOD
In 1996's
The Nutty
seven different
professor
roles.
Professor,
The
title
Eddie
and transforms
is
Buddy
beginnmg
for
makeup
workout guru
played
own
DNA
(left)
obese chemistry
Murphy
character
to
artists
Rick
make Murphy
Latice Perkins
and
four other Klumps. The film won an Oscar for Best Makeup.
:"'
mm
K
s
^d
_!iS^^
JAm!
nmm
from
top.
left,
Papa,
1^
roles in
Professor
MANUFACTURING
Ai makeup
Till:
artists
i:
fanned
Murphy,
(left)
and
"move
and
as
makeup
it.
artist
ments. Baker
found
and
his
crew
as one
components of the
"fat."
123
YKARS OF HOLLYWOOD
||
W'
emotional
visuals."
respond to
level,"
then imagine
how
it
on an
said.
World War
the Allies'
mandy
II
drama
reality.
its first
focuses unrelentingly
D-Day landing on
the
Omaha
pecially the
For
work of legendary
Life
es-
"look
a
i^^Tt,J.
l*sirr.i|iri
like
it
was shot
in 16
it,
mm by
ii^iS^|Sii|^
To achieve
Kaminski had
this sense
his
of realism,
camera operators
They simulated
quality of
the frenetic
combat with
deliberately
or
artificial
lenses,
Kaminski
sky,"
lighting.
said,
If
wa-
in reality."
Overhead
And
to
silk
muted
tones. For
film," as a colleague
put
it,
for
Best Cinematography.
124
to
obstacles
on
Omaha
Beach
Silk
>4H|^^^^^^^^^^^^^^^^^^^^H
'^^^^^^^^^^^^^^^1
'^'-i^^llfc^
100
126
YEARS OF HOLLYWOOD
A N U
A C T U R
C,
i:
In
hit
role,
enhancing the
movie scores
ominous theme
and paid
The sweeping
in 1927,
to the
sell tickets.
Herrmann's music
sound
drama
for Jaws
tribute to Bernard
may
style.
also capture
rerecord later as
come
(inset)
Foley stage
Jack Foley
There a "Foley
artist"
provides
work
a variety of
crophones
^^^y artist at
floor.
On
the
set,
at the ex-
sound
effects
like
mi-
artists
in
and sound
effects that
127
(lire
seemingly
to
yal Wedding.
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3F"^
~\
'^^.
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---
T_^
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^^
^^^^^
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n
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vv.
w^
MAN
A C
111
C,
I)
R h A
Believable
Make- Believe
red Astaire
F\
19518 Roy-
How did
ing.
al
hotel
(left)
he do
it?
chored to
its
floor
The
set
with
was placed
in a revolv-
own
sions
very
come from
first
built, all
named Bruce
Shaw
in
Jaws (1975).
illu-
special-effects experts.
The
inspira-
tion,
Conjuror (1899)
made
who
in
assistant disappear.
special effects
level
of sophistica-
MGM's
legend-
Wicked
Mar-
actress
that could
pinned
around her remained behind.
her clothing
Alfred
This
lifelike
dummy
rigs
head appeared
to
let
for
some
and shrieking
wounds.
On
burn-
and
Diabolik (1967)
actors
ardry can
make
entire cities
go up
when
alien
An
996
129
100
YEARS
HOLLYWOOD
ger
Daredevils
air
bags cushion
falls.
at
Work
character's
head
molded from
air,
catch
fire, fly
T^
It's all
perform the
film
in a day's
stunts.
work
for the
his
When
through
in
own
stunts but
in
Mel Gibson
130
from
ing
hand
When
a small
the precipice.
in.
Nevada
bottles in
The
wood
balsa
glass
held together by
barroom brawls
window
are
derring-do.
star.
paraffin.
optical sleight of
Star
made of soft
down on
is
added
to
had a
one of them
is
The
falling debris.
and they
cliffs
Modern filmmakers
off
Enormous
Those whiskey
toothpicks.
is
actual risk.
The
blown
soldier
Riggs,
is
gets
an extra
at the
Weapon 4
traffic
lift
edge of
by an explod-
Martin
cliff, it
human
The
behind a
trailer truck.
lend a liand.
nia\'
from
moving bus
Speed
in
1994), he
When Koanu
a
moving
knew he would
One
the
at the
burn.
hill
were going
ments and
Human
face
same
feats
the stunt
not miss
to protect
C.
T U K
Ci
of the
most stuntiing
effects
known
as
trified
them and
viewers of Die
painted
on
at
members stand by
to hose
it
down
low temperatures
and then
Willis, as
One
actually a photo-
in the cockpit
of a grounded
set afire.
seat
is
Crew
cut
and punching
out.
an
ejection
was filmed
shown at bottom.
(1974), contained
enough
skyscrapers to require
1.
policeman John
One
to
They may
I)
help
TIM
if
Cut-and-Paste Action
car to a
velocity.
is
Reeves's
Some
both vehicles
A N U
stunt
man
hurtles
Schwarzenegger
fiery deaths
thriller
in the
artists.
Arnold
air in a
aloft.
131
1-
r-n*
(% \f^
m
%
<r
fS-^*^.
T^#^
MtJ
MAN
I-
A C
U K
Mil
C,
.\rli<t< at
Industrial Light
Light
Industrial
iliapc a plaster
& Magic
1)
mold
head of
Lucas's
toy box"
that's
J
left
special-effects shop.
among some
of films
known
&
George Lucas
shown
mold
at
Wars movie. He
set
as
filled
the final
with latex
completed creature
Salacious
up shop
Ephant
Man. From
Crumb.
in a
young
for
staff,
work
flops.
It
many
who showed up
at all
was
a "hang-loose atmosphere,"
"We were
neers recalled.
bunch of hippies,
flip-
really
but
highly motivated."
There and
later in a facility
galaxy
To populate the Star Wars cosmos
away" they designed,
and brought
"a
fects.
far
to
built,
effar,
ro-
life
sands of tiny
zoomed
at
window
lights.
warp speed
actually sitting
still
On-screen these
thanks
to
new computer-controlled
winning
Park
flicks
135).
the Star
Wars
special effects
most
effects for
shots.
craft
I The Phantom
showed up
in nearly
release. Star
ations,
Menace
(1999),
ILM
95 percent of the
box
office
billion
133
Popping Up on ihc
fihning,
A N U
A C
V K
C,
II
1,
I)
I.
set
an
object
illusion
it
between exposures.
allowed filmmakers
models and
to
make
to
impart the
illusion
of motion
to stationary
and move-
In a masterpiece
immense
Empire
ofILM special
effects, little
snow walkers
(left)
and compositing
the optical
look
The
tech-
magic
135
HOLLYWOOD
100 YliARS OF
Breakthroughs in
beast,
augmenting
a basic tube
Digital Illusion
minous
gram
or
Fl
all
Star
Wars
trilogy,
George Lucas
frustrated.
felt
all
his fantastic
sophisticated
computer graphics.
Major breakthroughs
ILM
Cameron envisioned
had
when
had
its
to be living," said
to feel that
it
had
made
to resize, color-correct,
Still,
Lucas's crew
mind of
its
In
136
it,
ILM had
to vastly
its
computer
and
establish
an
2:
more
specialists to
amorphous blob of
liquid metal to
human
memory
new
expand
forth an even
to
summon
manoid
of sea-
a pro-
in digital effects.
a series
human
was Photoshop,
Oscar-winning milestone
through
and
the strangest
totally
vital tool
director
One
ILM
more
reflections.
lu-
them
to film. In
new
ones,
and
transfer-
as a
reaches out.
A N
11
1-
A C T U R
C;
MM
lU A
painted with a
runs
camera.
of reference points
Given
life
who
for the
Patrick, the
actor,
black grid
like the
human
as
shape.
137
YEARS OF HOLLYWOOD
ICO
and
lines
ILM brought
pressures,"
Cameron's cyborg
To
to life
up a scene
in
computer-generated
film.
Malcolm
When
for Jurassic
minutes of
in nearly six
set
associate,
flees a
charging
to
bit
imagine
is
there.
Before be-
of computer
by computer
graphics.
He
wanted
show him
to
computer whiz
wound up
minutes to their
al-
digital
Beginning
T. rex,
between the
T.
rex
and the
the
its
creation of a
computer pro-
velociraptors.
duces an image representing
"The keys
liminal," said
to
filmmaking are
all
sub-
see a dino-
it's
there."
To
an idea of
get
a three-dimensional wire-
how
six-ton
added
di-
nosaurs moved,
ILM
animators observed
and
other features.
ment
classes.
in
jig-
Some computer-graphics
solutions
more
ic
had
natural look.
They
also
for a
used electron-
adult stunt
effects,
was attached
woman
the head of a
to the
body of an
138
now
be built
just
animals
digitally.
with
live action.
{above), the
digital creature
dimensional wire model and the so-called background plate of the fleeing
the three-
actor.
shot,
which wound up on
uosaurus- rex
and a
4JI0I^
f^
^m
'*'M
00
YTARS OF HOLLYWOOD
4-^
^
In
clerk
when he dons
to
frame figure
is
own facial
contortions.
and
explodes
and
"freeze"
drips with
icicles.
to
illusion.
100
YEARS OF HOLLYWOOD
Master of
Animation
not just a cartoon," Walt Disney once
It's
exclaimed
er he
brought
boat Willie
having
By
bottom).
when
1920
tive art in
his
chosen
field into
won an Oscar
chipmunks and
one
and
Trees,
rels,"
Mickey Mouse
(right,
30,
color cartoon.
the age of
lat-
giraffes
scampered
squirrels
artist said
"The
like
ran
the
first full-
his studio's
and the
like giraffes
chipmunks and
squir-
admiringly.
Disney's FoOy
the
first
and
ing
lavish,
unprecedented
detail.
shadows should
faO,
and
winning characters,
enthralling story,
its
Snov^/ Wliite
Immense
realism
and adding
and
irresistible
music,
grace, determining
mak-
how
and
soap bubbles.
Disney's spare-no-expense approach carried over to the studio's later films.
Lead characters
bi (inset, bottom)
became
with The
1989
Walt Disney
it
Little
drift.
But
Mermaid
in
which
often,
one animator
said,
would
"kill
142
the
you laughing,
to tears.
held
its
magic.
(inset, top)
his
and amusement
studio seemed to
Dumbo
and Bam-
action films,
like
^^
Snow
Fantasia,
1940
The
Disney Classics
Mickey Mouse, as the
Sorcerer's
dance
in Fantasia;
Snow
White's
Mermaid,
frolics in the
White and
Little
tiie
A N u
Mermaid, 1989
c:
T U R
r,
il
i:
100
YEARS OF HOLLYWOOD
Man
Merry Mayhem
Warner
at
who found
or those
Fy
Warner
Bros.
Bros, cartoons:
and
a wisecracking tone
Michael Maltese
recalled,
fast,
ferocious,
relentless
flicks
vils fell
began
series
cliffs.
As storyman
bill.
matched
that nicely
"We wrote
its
mayhem
of a Thousand Voices
held,
in the 1930s,
full
bloom: An-
and characters
six- to
seven-minute epics
Robert
Chuck
as Ter-
Tex Avery,
like
Jones,
McKimson turned
sup-
ejfect)
in a dilapidat-
Warner cartoon
ed,
(above, with a
out a thousand-
ing
characters. Tlie
holler,
most tax-
he
said,
like those
of En-
Caruso.
animation
Warner
history.
Bros.' first
enduring character
(inset).
He was
bunny with
the
Bugs Bunny
"Th-th-that's
Porky
all.
Folks!"
Pig
of antagonists
like
"Itawtltawapuddytatr
Tweety
size,
man
Bird
hombre
make
meal of
little
"You're despicable!"
-Daffy Duck
Wile
E.
his
own
mined
rooster
foe: a tiny
144
ever
quiet!"
Elmer Fudd
Acme
deter-
dispar-
and
"Ah
say,
Ah
Foghorn
say. Son!"
Leghorn
Model
ter.
Bugs Bunny
MAN
A C
U U
C,
II
1.
I)
l<
From
his
Sam
appear on a
eel
by Friz
mo-
it
and capture
mouse
I.
is
little
in trouble
in
suspended
"but,"
in air.
Bugs
is
Bugs remains
says, "I
145
YEARS OF HOLLYWOOD
100
j%
starring
Bob Hoskins
as a
as a
murder suspect
(right)
Disney and
you should
go
down and
room and
sits
down on
a big chair,
real objects in
To match each
shadow made
ures
of highlight and
the animated
fig-
seem three-dimensional or
worn by
An
animated
entirely
by
and Buzz
(inset, left),
studio Pixar.
toys
In
model
Snow
to
make
this virtual
same
nuanced
ly
who compete
facial expressions.
in the realm of
for
surface "textures"
tactile.
first realistic
human
Woody
Bob Hoskins,
to look like they're thinking," Pixar 's John Lasseter said. Toy
with his cartoon client in
Story
office success.
146
a special
bit.
imaginary
to
play most of
costars.
Kids and
Animals
HARD ACTS TO FOLLOW
Never
work with
kids
(inset).
But
if
Hollywood's
costars, children
At
first
it
your best
difficult to resist a
critters often
noble dog
like Lassie
human
stealers.
this
phenomenon, and
youngsters in film served largely as props. By the 1930s, however, child stars
shone so brightly
in the
little
person to make
56 corkscrew
it
curls.
it
who was
sure to be the
big.
biggest of
all
had
when
she was seven years old, Shirley Temple (right) outdrew every other
Hollywood
buoying the
spirits
star at the
and
office.
infectious,
of a nation mired in the Great Depression. She could sing. She could
her lines
box
didn't shy
And
if
remembered
'\i
,'W
Two bnbcs who made
right,
148
had
the
title role in
Babe (1995). At
sipping milk, Shirley Temple was America's image of wholesome goodness during the mid- 1930s.
Temple was
a natural. At ago
feet
rolled in
tt)
making
one-reelers. In 1934,
1.
*Don't ask
me how
she does
it.
her.
A N
with her
KIDS AND
when
first
she turned
YouVe heard
film contract,
six,
champions
she
of chess
at eight
and
violin
millions of children
but
if
a staff
for
of 19 writers to develop
And
5 cents at their
her.
It
her adoring
12;
that she
was actually
13,
not
her parents and the studio had shaved a year off her
age to
make
best days
more
her.
was succeeded
by someone
as
who was
made
Jr.
Temple
a teen-
(right).
star
Born
Rooney
when he was
ey Rooney as
one soda with two straws. Between 1937 and 1943 Rooney and
in
He made
the
first
of 15
Andy Hardy
Garland made a
at the
box
running.
Opposite: Shirley TetJtple
a cen-
gles"
Robinson tap a
made
classic
sequence
her just
all
in
The
by herself
Bill
"Bojan-
Little Colonel.
no
Robin-
151
100
YEARS OF HOLLYWOOD
rubber
ball
Rooney's frequent costar, Judy Garland (page 151), was also the
off-
tury,
for years,"
he
w^ith
unsuccessful
sisters in the
1
3 her
Gumm
in
"Gumm
first
sound
test.
B.
Mayer of
in the studio's
in
Dorothy
in
The Wizard of Oz
Garland was
MGM's
work out
person
Kiddie Act."
Rooney
cast opposite
by
Sisters
table role as
like a
(right).
girl
flung
started in 1938.
figure
fit
the role of 11 -
der look
bound her
breasts.
demanded by Hollywood
be-
A
Natalie
classics as
Star
Is
abuse and,
O'Brien,
who became
Margaret knew
how
young
Meet Me
Louis and
in St.
Born.
to lose weight
finally,
death
at
age 47 fi^om
pills.
sister in
Meet
Me
in St.
to turn
on the emotional
spigot.
But
just to
make
MinnelH
once took the youngster aside before shooting and told her that her
killed
by
a car.
It
on 34th
(inset,
In
Man
(Itidy
Garland) ministers
(Jack Haley)
and
above),
in
152
in Miracle
to the
the Scarecrow
little
Susan's
Cowardly Lion
'^K.
'^-
.*
'
'
ji;
^|:
?'*
i.
translornied
is
After
World War
II,
The new
more
screenplays reflected a
stripped of
some of
view of childhood,
realistic
the contrived
endearing charm
if
Land of Oz.
of
little
In
The Parent
showed
daughter
a shrewder aspect of
who
trick
In Paper
Moon
who
money was
up with
nine-year-old
Tatum O'Neal
(left).
by her
their
Teamed
real-life fa-
Helen Keller (Patty Duke) takes a lesson from her teacher, Annie
ther,
that
bered everyone's
hers.
O'Neal had
lines,
more than
who remem-
chilling
As
that year
One
performance
in
The
were reprising
roles that
be bribed to learn
to
nominees
the
won
of the other
Blair, for
her
Exorcist.
as Garland's pill
TV
Perhaps the
first
Patty Duke. At
and
6 her performance in
and mute
was
tabloids.
blind,
for Best
Sup-
porting Actress. But along with the accolades came reports that she threw temper tantrums
her
life
off
it
home when
had
to
proved no
she was
less troubled.
six,
was an
on the
Her
alcoholic.
Duke
herself
drank
away
in
and
father,
who
left
Her mother
teenager,
set
heavily, suffered
illness.
As
from manic-
sisters Sitsan
sleight of hand,
and Sharon
in the
155
100
YEARS OF HOLLYWOOD
-^.
depressive illness,
-.,
charged, sexually
later
47 iM
M
The media
The
caulay Culkin.
IJN
fV
9p ^^
also
went
to
encoun-
hilarious difficulties he
Home Alone
(below,
left)
paled along-
who
years as a child
first five
earned an estimated
star,
retreated
^**:*'
1
over custody of
his parents
him and
waged
a bitter fight
he then mar-
Increasing-
off.
^^ mm
-year-old
abilities.
In
the
(left).
in
Pa-
The
their roles in
to
Tatum
Culkm
is
cunning
demanded
of
Ten-year-old Macaulay
1994,
these roles
Many
and
Home Alone
role of a
Unprecedented
skunk
in a school play.
were played
(1990).
Both began
Foster.
Shields as a
their
baby
prostitutes
Shields in Pretty
Driver (1976)
to direct her
appeared
in front
later
Foster in Taxi
went to Ivy
Baby (1978),
Both actresses
(right).
League universities
and
on
own
to
own TV
series,
Suddenly
films. Appropriately,
when
Man
she
it
in
Jodie Foster, 13, plays a child prostitute in Taxi Driver. In her next
films she
156
nnirderer.
^*"1
'^'i
^?
ll:^*
>'fcj
10
Yl-ARS OF I-IOLLYWOOD
A Menagerie of
terrier, first
He had
a distinctive ring
around
had been
applied with liquid dye for another movie and would not
Matinee Idols
come
off.
Hollywood's
first
German shepherd
bombed-out building
War
I.
in
after a character in a
pilot,
in the silent
named
and
Tin.
more than
street
him
Pete the
Pup
of
ring
and 1944.
Pete, a
gende
in the
same
film.
"We
said.
As
if
to say
on
all
"Oh
would perform
for his
his primar)'
would
pit bull
role.
lie
down,
first
to break the
and a pedigreed
critical scene,
re-
the director
trainer
He swam
Rudd
of payment. But
through.
Weatherwax
chewing up
Lassie (right),
summoned
The
Our Gang,
put his paws over his head, and close his eyes.
first,
sometimes
eyes
differ-
Two
dozen
from
near bankruptcy.
as a
all
many
refiagee
and
as
Pal
in lieu
came
liikiiii^
he
(I
somnl
tc>l in
is
sileitt-screett stars
'We
192^.), liiii
can't
talkies.
could
ttoi tiinkc
the switch.
even house-
you can
train
him?"
The
origiital Lassie
to
Come Home
ill
1 1
his
work
than his
159
costar in
Bedtime
for Bonzo.
'0^^^-^
emerged
down
would, slumped
ex-
le
do\j,
male
all
played
Lassie in
movies or on TV.
Other animal
Bedtime
roles. In
Peggy
stars
have
for Boiizo
made
1951
),
mark
their
chimpanzee named
(left)
comic
in
who
raises a
chimp
environment rather
to prove that
Mule
(rigJit,
in Francis in the
Navy
costars in seven
came from
the veteran
the muscles
on the
The mule's
lips
and ad-
talking?
in
pressing
in reality a female
named Molly
let
stardom go
The
title
James Cromwell.
the Hollywood
almost
hills
all
to lose
and sweating
cabinet.
stairs,
in a
The
to
custom-made steam
wink on
tricks.
had
sit
cue,
and execute
down, and
that
be performed by a stand-in.
title
role in
grow so
pigs.
to
no fewer
Because York-
were
about
late
weeks
later.
(right).
Wacs (1954)
moved because
to her head.
shires
(1955).
feat
Donald
Francis
Mule {Molly)
necktie
to
his
on Babe's forehead
100
YEARS OF
HOLLYWOOD
charming
fable.
it
Home
he lived in a cramped,
Bill
how to
Lishman,
who
taught a
Anna
Paquin,
156), finds
the
way
know where
in a little
When
to go, but
goose-shaped
for
it is
time to mi-
of Keiko the
killer
whale
Anna Paquin
in
An
Mexico
weight,
City,
where
and developed
lars in
contributions poured
in,
to return the
Keiko was
1996 to a rehabilitation
airlifted in
in 1979.
facility in
Ore-
Two
aircraft (below).
captive in an
162
er.
temporary
enabled
home
him
in a
huge
floating pen.
underwent preparation
move
into a
Nylon mesh
around him
as
new
sides
he
leads a flock of Canada geese on their first migration south in Fly .Away
Home.
In Free Willy, a
young friend
star,
in-ges the
whale
to
The
Lights in
Hollywood's Sky
CELEBRATING THE STARS
IP
I
he headline
ported a
in the
November
new phenomenon
an outrageous one,
Names on
in the
re-
many
ways, the
pioneer movie moguls nonetheless did not yet perceive that their business would ride to riches
primarily on star power.
them
it
began
^
'(H
once
well
Tfi 1
to
known
watch
their
about their
an apt
as their faces,
work but
and
lives
celestial
new kind
at
and
frailties
and
them
follies.
indeed, eager
at play
The
and
With
their
stars
and hear
to read
now
called stars,
ehisive
reach.
of change
And
in
like
became
literally suf-
as familiar as
in
move-
another prince.
among them,
to
in a constant process
fame the
actors were
qiuihty, 26-year-oid
an Oscar
(inset).
dering sexuality as Maggie in the 1958 film version of Tennessee Williams's Cat on a Hot Tin Roof
164
into
loves
for
YEARS
10
()
I-
II
I,
Y VV
()
(.)
The Making of a
Movie Star
replied simply,
"I'll
if
have to ask
my
the beginning,
stardom exerted
tlie
were taken
possibility of film
a gravitational pull
on American
wood names
for
in
the promise of a
life
dreamed of being
one story
dream
like
alive.
in the
"discovered."
Coke
it
sunboniwt
set
Few
in
Billy
at 15,
They
curls, Julia
girl
ress in a skintight
and
tu-
glamorous tempt-
line a
gown.
stars
"You
can't
days," said
imagine
care.
"They had
fans
would
to. If
we
tear us to pieces."
and
(right),
in-
in Filley, Nebraska.
The
how
Jean Turner 16, stands before the camera for her 1937 screen
studio.
166
irresistible.
although not
would have by
a
movies was
quarterbacks,
casting couch
stage, for
the compulsory
A Imost from
mother."
test (left).
By
expanded beyond
cts
the
to
to project the
most affecting
and genuine
this
1111
1949
class
U,
11
of starlets
IN
II
()
1,
1.
but what
Y VV
()
1)
SKY
expression.
167
100
YEARS OF HOLLYWOOD
No one
own.
(inset),
rival scoopsters,
gargoyles of gossip
American
the celebrity
Hedda Hopper
Parsons
power of
its
own
became
Winchell was an
right;
institution.
an
mention by
more than
either
could end
it.
to
Hopper candidly
man-
entertainment
political as well as
circles.
me
in
"You
can't talk to
God!"
launched
seem
in 1936,
that the
it
soon came to
Hedda Hopper
Many would-be
by
help
them win
Life's staff
that all-important
stars
found that
photographers could
first
part.
And many
of
best-known
faces.
II
would never
which
it
scene,
many
recover.
New
came on
actors
less
the
New York.
In-
Woodward eschewed
publicity.
Gone were
press agents.
i68
movie
iiigeiiiie,
star portrait.
Life
During
to
its
ahvayi found
36 years as a
Hollywood
royalty.
made
still
of Jane
sief
:^^'
her a sensation
^Mk
170
10
YEARS OF HOLLYWOOD
projects,
II
I,
But Americans
The
glasses.
came,
if
IN
r S
II
II
I.
Y VV
wanted
still
to see
O D
()
instead ol acting
liliiis
(i
their
SKY
own
of others.
many
stars
p^^|a^<f'.
|^"tw?'
ended
1972, but
two years
rived to
in
the gap.
fill
Later,
weekly run
its
magazines
like
Vanity Fair
With
fetish.
a seemingly inexhaustible
and show
all,
tographers
and cutting-edge
in their
own
pictures
right.
and
of-
by pho-
Coverage
weight with
articles
captains of industry,
and
aristocrats.
in sight to
lowdown on
In-
inside
dope on
everything from
choice of shampoo.
With
nd John
the
Travolta (foreg
iw various
stars,
a trade-offfor fame.
reactions at
se
movie
stars
high-flying slice of
life
to titillate an
earthbound audience.
171
10
YEARS OF HOLLYWOOD
cc
Laurence Olivier
Hamlet, 1948
More
Stars
Than
in the Heavens"
the days
InMGM
when each
studio had
its
roster of actors
under contract,
still
shine.
Some of the
best
known adorn
these
-;
'
,
wj!
W
n Queen, 1951
'^^!l^^
--f
-^o
175
Newman
Kid,
1969
Sidney
7b
Sir,
IN
()
I,
I.
WOO
SKY
Poitier
II,
1974
Tom
Cruise
Clint
Eastwood
1976
177
ilk.
i
1
100
YEARS OF HOLLYWOOD
Bette Davis
All
About
Eve,
1950
^nr-
Mae West
She Done Him Wrong,
1933
Joan Crawford
Sudden
Fear,
1952
Audrey Hepburn
Breakfast at Tiffany's, 1961
100
YEARS OF HOLLYWOOD
1^"^-
--V W
c
i.l^)f^'"<
WeryiStreep
r/ie
French Lieutenant's
Woman, 1981
r^^
tJP'
II
I,
CUTS
IN
II
()
I,
I.
() () I)
ulia
SKY
Roberts
Pretty
Woman, 1990
185
100
YEARS OF HOLLYWOOD
Michelle Pfelffer
Dangerous
Liaisons,
1988
ACKNOWLEDGMENTS
The
editors wish to
Tom
Calif.;
Museum
Mary
Corliss,
Bros.,
Burbank,
Calif.;
of
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Modern
New
Art,
York;
Mary
Calif.;
and
Ison
Staff,
Library of
PICTURE CREDITS
Warner
da,
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Mo.
left to
right are
New
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Still
Archives,
Movie
New
Still
York
CORBIS/
Photofest,
New
New
partment of the
11-18: Kobal
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Interior, National
Site. 24:
Modern Art (MOMA) Film Stills Archive, New York. 25: Brown BrothSterling, Pa. MOMA Film Stills Archive, New York. 26: MOMA Film Stills
ers,
of
New York
Archive,
Department of the
U.S.
(2). 27:
The
Academy of Motion
Archives
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Calif. 30:
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Picture Arts
Stills
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Movie
New
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Kobal Collection
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Calif.;
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photograph
THE RAIN
SINGIN' IN
Corp.
New
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AND
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E.state
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Life
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Movie
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New York.
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London
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1972
Plains,
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103:
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ABC
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Warner
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Bros.,
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107:
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Austin GONE
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West
Artists
Halsman
Halsman
New York.
ties
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Pictures, cour-
Still
New York.
Photofest,
Bros., courtesy
104:
90:
Still
Philippe
Mo.
Mo.
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ABC
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Archives,
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Movie
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1926 Turner Entertainment Co. All rights reserved. Photo courtesy Kobal
tesy the
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J.
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MGM, courtesy Kobal Collection Hershenson-Allen Archive, West
Mo.
Sciences,
Movie
(3)
New York
(2);
and
Still
1954
York
Picture Arts
Mo.
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85:
New
Archives, Harrison,
Pictures,
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Still
Archives.
Avenue Theatre,
New York.
Archives, Harrison,
Archives. 37:
D'Arcy
Still
Material Store,
Photofest,
Hershenson-Allen
New York.
52:
Movie
Still
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New York.
dios, courtesy
Beverly Hills, Calif. 42: Hershenson-Allen Archive, West Plains, Mo.; Bison Archives.
43:
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Movie
Joel Finler
Archive,
Stills
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Still
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AND CLYDE 1967 Warner Bros.-Seven Arts and Tatira-Hiller Productions. All
Still
New York
Archive,
Plains,
Still
MOMA Film
Photofest,
and
courtesy
Bison
Warner Bros./Archive Photos, New York The
CORBIS/Bettmann Bison
Movie
York
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Picture Arts
New
New York
Archive,
Stills
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Brown
Academy of Motion
courtesy the
Interior,
MOMA Film
188
New York.
Marc Wanamaker/Bison
(Bison Archives); The JoeJ Finler Collection, London. 22, 23: U.S. De-
Calif.
Museum
San Rafael,
lywood,
Movie
rights reserved;
Bettmann.
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AND CLYDE
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lONES
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123: Photos by
Make-up
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Photos by David iamcs for the motion picture Saving Private Ryan
BOYZ
THM HOOD
N'
served. (A)urtesy
129: Louis
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1991
Columbia
(ioldman
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HERO
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1..P.
Columbia Pictures
(<)
Still
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Archives, Harrison,
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Disney
PORKY
all
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Entertainment, Inc. 148, 149: Hershenson- Allen Archive, West Plains, Mo.; Photofest,
New
York. 150-151:
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155:
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Archives,
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Photos,
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All rights reserved.
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zine
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Inc.
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Inc.;
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Magazine
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Inc. 175:
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Inc. 174:
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W. Eugene Smith,
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179:
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Bros., courtesy
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York;
Life
Liaison Agency,
Still
Warner
a regi.stered
Movie
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Inc. 172:
Movie
PEOPLE Weekly
Paris;
Artists, courtesy
Photofest,
Inc.
Time
York. 176:
Life
Inc.;
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Ir.,
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Magazine
Mag-
York, Life
Rex Hardy
Time
Inc.
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Time
tion;
|ohn
Inc;
New
Magazine
Life
Photo Researchers,
Photos,
New
Weegee/K;P/l.iaison Agency,
Time
Still
New
York.
Archives, Harri-
Culver Pictures,
New
Movie
York
Still
Time
staedt, Life
Magazine
Movie
Still
Inc. 184:
New
lection
tesy
Photofest,
Globe Photos,
Cahn, William.
New York
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Snowdon/Camera
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York;
(2)
WOMAN
London. 185:
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1990 Touchstone
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Internet
INDEX
Cruise,
Bison Company, 36
Numerals
in italics indicate
an
illustration
Bitzer, Billy,
Blair,
Allen,
Woody
61, 68,
10;
quoted, 69
Bogart,
Tom,
Available: http://imdb.com
Edison,
Thomas
quoted, 23
25
Humphrey,
173
17
Fields,
Daniels, Bebe, 53
Fleming, Victor, 63
Bow, Clara,
D'Arcy, Roy, 54
Arzner, Dorothy, 6
22
52
50,
96, 168,
175
Browning, Tod, 98
DeMille, Cecil
Bacall, Lauren,
Cagney, James,
19, 76,
77-79
107
W. C, quoted, 148
Andrews, Dana, 80
De
Fox,
Waiiam, 30-31, 48
Dietrich, Marlene, 14
Campion,
Bara, Theda, 30
Barrymore, John,
Basinger,
10, 35,
54
Kim, 186
Bassett, Angela,
Beatty,
Warren, 79
Berenger,
Jane, 61
60
Tom, 103
Donen, Stanley
/ 1
90,
Duke.
Coogan,
Dunaway,
Jackie,
9,
45
71
Crawford, Joan,
Bergman, Ingrid,59,
Crosby, Bing,
8,
72
180
Patty,
91,92
;55-156
Faye, 78-79,
96,
10
86
G
Gable, Clark,
13, 63,
65
Garbo, Greta, 16
Garland, ludy,
119,186
Duvall, Robert, 96
72
100, 182
Cooper, Gary,
Disney Walt,
142
Capshaw, Kate,
186
190
Movie Database.
Powers, Tom. Special Effects in the Movies. San Diego, Calif: Lucent, 1989.
E
Eastwood, Clint, 71, 177
155
Gibbons, Cedric,
Gibson, Mel,
130,
14
179
Gilbert, John, 54
Gillespie,
Arnold, 129
152-153,
Gwyneth, 186
Gish, Dorothy, 53
Paltrow,
Sturges, Preston, 67
Paramount
Swanson, Gloria, 53
Goldblum,
leff,
IM
139
Laemmle,
33-35
152-153
l,ahr, Bert,
10
Lancaster, Burt,
Talmadge, Norma, 50
Taylor, Elizabeth,
Pfeiffer,
Grauman,
Lasky, Blanche,
Usky,
Greenstreet, Sydney, 81
Grey,
loel,
93
Jessica,
86
85,
Hale, George, 26
28
30
Hackman, Gene,
02- 103
Michelle, 187
Pollack, Sydney,
Lemmon,
Porter,
Edwin
Thurman, Uma, 89
Tierney, Gene, 80
26
72
Loew, Marcus,
Turner, Lana,
Hanks, Tom,
Lorre, Peter, 81
Rains, Claude, 59
Ullmann,
United
Rice, John, 23
Harlow, Jean,
158
i2,
Hart, William
Hawks, Howard,
Hawn,
37
36,
S.,
77
Goldie, 185
Hayworth,
Rita,
33, 35;
quoted, 33
McDowall, Roddy,
Hepburn, Audrey,
MacLaine,
118, 181
Hepburn, Katharine,
quoted, 90
Roberts,
67
Shirley,
Bill
Mason, James,
Rothapfel,
168, 177
64, 65,
67
13
Mary
Rox7
Elizabeth, /36
152
17
Samuel (Roxy),
theater,
Russell, lane,
46,
48
Henry
Walthall,
169
Warner, Abe.
B.,
34,
43
35
Metro-Goldwyn-Mayer,
Horning, William,
46-47
Holden, William, 72
Peebles, Melvin, 89
Mayer, Louis
45
Marx, Groucho,
107
Hoffman, Dustin,
Liv,
Artists, 44,
quoted, 5
Van
151
u
Valentino, Rudolph, 20-21, 50-51;
iS5
Julia,
Robinson,
Mastrantonio,
Robbins, Jerome, 92
161
Marshall, Penny, 61
McCarey, Leo, 67
180
;64-(65
Thalberg, Irving, 59
69
S.,
Temple,
177
Poitier, Sidney,
Leigh, Vivien, 63
Lloyd, Harold, 41
6;, 179
Lange,
49
69
137
Patrick, Robert,
75
28-30, 48
Lake, Veronica, 18
Warner,
Saint,
Warner
152, 172
Warner, Sam,
10
35
34,
Milestone, Lewis, 96
Schaffher, Franklin, 96
Wayne, lohn,
Hurrell, George, 6
Huston, John,
14
60, 80;
quoted, 59, 61
Ince,
Thomas
Harper, 36, 38
Irwin, May, 23
Jackson,
Samuel
L.,
89, 179
Maurice, 126-127
Monroe, Marilyn,
182
Scott,
George C,
Mountbatten, Louis, 50
Sellers, Peter,
Murphy, Eddie,
Selwyn, Edgar, 33
J22, 123
95,
144-J45
96
70, 71
Weismuller, Johnny, 75
Welles, Orson, 58; quoted, 60
104
Murray, Mae, 21
Selznick,
Westmore, George,
Neeson, Liam, 61
Sheen, Martin, 96
Whale, James, 98
Neilan, Marshall, 32
Wilder,
Newman, PauL
72-73, 117,:
8,
;76
Sinatra, Frank,
94
Wertmuller, Lina, 6
Billy, 66,
17
20
67-69, 80
Sinclair,
Normand, Mabel,
Johnston, Julanne, 45
Novarro, Ramon, 54
Jarre,
Steiger,
Karloff, Boris, 98
Sterling, Ford,
Stewart, Anita, 32
O'Neal, Tatum,
Kazan,
quoted, 82
Gene,
90. 91.
92
Keystone Pictures,
38, 39, 41
Kurosawa, Akira,
Pacino,Al,
07
O'Toole, Peter, 63
Stanwyck, Barbara,
77
Woods, Eddie, 76
Woodward, Joanne,
39
13
168, 782
66
86
Wood,
Rod, 83
Stone, Sharon,
Zanuck, Darryl
Zinnemann,
F.,
77, 90, 94
Fred, 71, 96
191
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