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#John Barrymore Interview
bygone-hollywood · 8 months
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Tallulah Bankhead giving a tour of her home in Person to Person (1953)
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fashionbooksmilano · 1 year
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George Hurrell
Portraits Glamour d’Hollywood
Avec une interview de George Hurrell par John Kobal
Schirmer/Mosel, Munich Paris Londres 1993, 126pages, 61 planches en deux tons
euro 65,00
orders to:     [email protected]
Photographies de la collection Kobal, Londres
A collection of sixty-one photos by George Hurrell of such glamorous Hollywood legends as Greta Garbo, Norma Shearer, Clark Gable, Marlene Dietrich, Joan Crawford, Jean Harlow, Jane Russell, Mae West, John Barrymore, and many others; Includes an interview with Hurrell by John Kobal, as well as a biographical chronology.
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orders to:     [email protected]
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18/02/23
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bcofl0ve · 3 months
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austin centric (mostly) mota press masterpost 1/?
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IMPORTANT DATES
jan 31st, austin and callum on the drew barrymore show
feb 1st, 100th bomb group vet john luckadoo live zoom event
review thread
gale cleven bio complied by the 100th bomb group foundation
link to buy the book from the national wwii museum (buy the book here instead of on amazon!) / 100th bomb group foundation store (the book is currently sold out here but there's still some great items!)
link to buy the edition of the book w/ the apple tv poster cover
masters of the air update blog (ily buddy- update blogs make the world go round!)
all promotional posters/images including austin
youtube playlist of every austin and austin/callum interview
wwii making of masters of the air event - history focused
*full video of event *my summary/notes
callum mentions austin on the boys in the boat red carpet - video
callum and austin at the boys in the boat after party - photos
callum and austin joint interview - article
1/10 premiere photo gallery, thank you austin butler network!
austin mota premiere interview extratv - video
austin mota premiere interview access hollywood - video
why tom hanks wanted austin butler for mota - video
callum talking about austin at the la premiere - video
la premiere coverage - (ten minute) - video
la premiere interview compilation ft. austin - video
callum turner reacts to mota having the sexiest cast - video
callum and george clooney are annoyed with austin voice questions during boys on the boat press - podcast clip screen recording
austin for tv guide - article blurb
"self-interview" with one of the military trainer/advisors on set, who notes austin as a standout from his perspective! - article
the guys and gary introducing the premiere in london - video
callum gushing about austin at the london premiere - video
callum playing with austin's back at the london premiere - video
10 minute live from the start of the happy sad confused event
30 minute live stream from the happy sad confused event
100+ photo album of the cast at a premiere night event in tribeca
callum sneaking up on austin at the tribeca event - video
austin interview for esquire - article
austin interview for the hollywood reporter - article
photoshoot of austin/barry/callum for usa today
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do-you-have-a-flag · 1 year
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i don’t watch the drew barrymore interview show but i do know from a couple clips that on her birthday they surprised here with some special guests and one of them was the lead from the show YOU and she was blindfolded and shut in a glass room before he came out so she just kind of screamed and fell to the floor
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and the second clip i saw john oliver came out to give her an umbrella and after sitting in open mouth silent shock for a couple minutes she started HITTING HIM WITH THE UMBRELLA WHILE SCREAMING I LOVE YOU???
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shefaniquotes · 1 year
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Camila: “I can't believe you guys have been together for seven years. What's the key?”
Blake: “I don't know what the secret is.”
Gwen: “There is [no secret]. We just are best friends.”
John: “My observation of them is they genuinely really like each other."
The Voice, October 2022
John: “I love seeing you two together, honestly. Good vibes, good energy.”
People Magazine, September 2022
Camila: "They're so adorable. I asked them, 'What is the key? You know you guys have been together... 'cause they're so happy and in love... it's so real. They're, like, making out — they're not making out, but they're cuddly with each other. And they're obsessed with each other. What they say about their key to like being so happy is that they're best friends and they make each other laugh, like they're laughing all the time.”
The Drew Barrymore Show, October 2022
Camila and John on Shefani, various interviews
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brokehorrorfan · 2 years
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E.T.: The Extra-Terrestrial will celebrate its 40th anniversary with a 4K Ultra HD release on October 18 via Universal Pictures. Several retailers will carry exclusive editions:
Amazon’s gift set with a tin tote, Thermos, booklet, and certificate of authenticity is limited to 5,550 and costs $64.99. Target has a Steelbook edition for $24.99. Walmart’s edition comes with a BendyFigs toy and costs $34.96.
The 1982 classic is directed by Steven Spielberg from a script by Melissa Mathison (Ponyo, The BFG). Dee Wallace, Henry Thomas, Peter Coyote, Robert MacNaughton and Drew Barrymore star.
Special features - including a new retrospective - are listed below, where you can also see the retailer exclusives.
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Special features:
40 Years of E.T.: The Extra-Terrestrial - A new retrospective of the film and its lasting legacy
An Evening with Steven Spielberg - Director Steven Spielberg reflects on his career and the making of E.T. at the TCM Classic Film Festival
The E.T. Journals - Never-before-seen, behind-the-scenes footage shot by cinematographer John Toll
Steven Spielberg & E.T. - An Interview with Steven Spielberg
A Look Back - Making-of featurette with Steven Spielberg, cast members, and more
The Evolution and Creation of E.T. featurette
The E.T. Reunion with Steven Spielberg and cast
The Music of E.T. - A Discussion with John Williams
The 20th Anniversary Premiere - Behind-the-scenes look at composer John Williams’ live performance at the film’s 20th anniversary premiere
Deleted scenes
Designs, Photographs, & Marketing
E.T. designs by production illustrator Ed Verreaux
E.T. designs by Carlo Rambaldi
Spaceship designs by Ralph Mcquarrie
Designs by production illustrator Ed Verreaux
Production photographs
Marketing E.T.
Theatrical trailer
Special Olympics TV spot
A 10-year-old boy summons the courage to help a friendly alien escape from Earth and return to his home planet.
Pre-order E.T.: The Extra-Terrestrial.
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countesspetofi · 8 months
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Watch "Studio One 1967 Conversation With Vincent Price Old Time Radio" on YouTube
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Vincent Price talks art, cooking, and his work with the Bureau of Indian Affairs as an advocate for Native arts, in a 1967 interview on the Voice of America.
(NB: the Tlingit totem pole mentioned in the interview was stolen by John Barrymore, kept by Vincent, and eventually returned to tribal members after his death.)
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Born Laura Michelle Hollins,[2] Deyn is from Littleborough, near Rochdale in Greater Manchester.[3] Deyn later moved to Failsworth near Oldham.[4][5] The second of three children, she moved to Rossendale, Lancashire, and attended All Saints Roman Catholic High School, as well as Bacup and Rawtenstall Grammar School and Sixth Form, Waterfoot.[citation needed]
Deyn's name was apparently coined to further her modelling career after she consulted her mother's friend, a numerology expert, who advised her of the most 'fortuitous' way to spell the name 'Agnes'.[6] It was reported that her mother Lorraine (a nurse), and her sister Emily both changed their surname to Deyn, while Lorraine has changed the I in her first name to Y.[7][8]
Deyn's working life started at a fish and chip shop in Stubbins, Rossendale, where she was a part-time server at the age of 13. Even at an early age she had an eye for style and by 17 she had already had her head shaved. "I've had short hair since I was 13, and when I was 17, I had a skinhead."[9] In 1999, she won the Rossendale Free Press "Face of '99" competition, aged just 16.[10]
She then moved to London, working in a fast-food restaurant during the day and a bar at night.[citation needed]
Career
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Modelling
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Deyn for Anna Sui in 2008
Deyn's biography claims that she was "spotted" while shopping with fashion designer Henry Holland in Kentish Town, London.[11] She then signed with SELECT Model Management.[12]
In May 2007, she was featured on the cover of American Vogue, alongside Doutzen Kroes, Caroline Trentini, Raquel Zimmermann, Sasha Pivovarova, Jessica Stam, Coco Rocha, Hilary Rhoda, Chanel Iman and Lily Donaldson as "The World's Next Top Models."[13] She has also been featured on the covers of: UK Vogue, the Observer Woman supplement, The Sunday Times Style, Pop, Grazia, Time, Style & Life, Vogue Italia and numerous other international publications.[14]
She has walked the runways for Chanel, Dolce & Gabbana, Burberry, Hermés, Dior, Lanvin, DKNY, Karl Lagerfeld, Moschino, Versace, Michael Kors, Zac Posen, Celine, Roberto Cavalli, Bottega Veneta, Proenza Schouler, Tommy Hilfiger, Stella McCartney, Viktor & Rolf, Max Mara, Oscar De La Renta, Ralph Lauren, Giles Deacon, Alexander Wang, Jean Paul Gaultier, Alberta Ferretti, Carolina Herrera, and Yves Saint Laurent.
Deyn has appeared in advertisements for Dior, Burberry, Emporio Armani, Calvin Klein, Moncler, Anna Sui, Giorgio Armani, John Galliano, Gianfranco Ferré, Blumarine, Vivienne Westwood, Cacharel, Doc Martens, Shiseido, Mulberry, Paul Smith, Adidas, and Reebok.
She has been the face of fragrance The Beat by Burberry, Gold by Giles Deacon at New Look replacing Drew Barrymore, Jean Paul Gaultier's fragrance Ma Dame, Shiseido (replacing Angelina Jolie), Rock Me! by Anna Sui, and childhood friend Henry Holland's label House of Holland. In 2009, Deyn landed a Uniqlo campaign and appeared in a commercial with Gabriel Aubry.[citation needed]
In May 2008, Deyn was guest editor of i-D magazine. The issue was devoted to her and includes articles written by and about Deyn, as well as interviews she conducted with fashion designers such as Vivienne Westwood. Deyn's was on one of the fourteen covers of V magazine autumn issue. Each cover employs a head shot of a famous model, either from new models or established supermodels; it was photographed by Inez van Lamsweerde and Vinoodh Matadin.[15]
In June 2009, the Daily Mirror reported that Deyn had quit modeling to spend more time with her then boyfriend, singer-songwriter Miles Kane. The newspaper quoted a source[who?] as saying that modeling had started to bore Deyn and that she had hired an acting agent to pursue an acting career in British independent films.[16]
Vogue Paris described her as one of the top 30 models of the 2000s.[17]
Deyn appeared in the May 2011 British Vogue editorial, photographed by Tim Walker.[18]
In October 2012, Deyn once again announced that she has retired from modeling in an interview with The Independent. She stated, "I suppose I have stopped modeling officially. I've not done any for a good long while now. I think it was about four years ago when my feelings were changing towards the industry. I didn't hate it, but I was yearning to do something different. I was on a gradient. It was a gradual thing." She intends to focus on her acting career.[19]
Music
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Deyn provides vocals for the single "Who" by Five O'Clock Heroes as well as featuring in the video. The single was poorly received by NME, who gave it only a 2/10.[20] The single charted at No. 109 in the UK.[21] Until recently she was a member of the now defunct group Lucky Knitwear.[22] Deyn's voice can be heard at the beginning of Rihanna's music video for "We Found Love".
Acting
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In the 2010 film Clash of the Titans, Deyn played Aphrodite, Greek goddess of beauty, love, and sex.
In March 2011, Deyn appeared as an owl-bearing warrior in Woodkid's debut music video, "Iron".[23]
In 2012, Deyn starred opposite Richard Coyle in Pusher, an English language remake of Nicolas Winding Refn's Danish film of the same name, where she played Flo, a strong-minded stripper.
On 28 February 2012, Deyn played her first role on the West End stage, as Paula in François Archambault's comedy, The Leisure Society.[24] After receiving excellent reviews[by whom?] for her role in that play, Deyn was cast to play the main female role, Chris Guthrie, in a film adaptation of the Scottish-set novel Sunset Song.[25]
In 2013, Deyn played the lead role in Electricity, a film adaptation of the novel by Ray Robinson, about the journey of a young woman with epilepsy.[26]
In 2015, she starred in fantasy-horror thriller film Patient Zero.[27]
In 2017, Deyn began filming Hard Sun, a pre-apocalyptic[clarification needed] crime drama for the BBC at Hanstead Park in Bricket Wood, Hertfordshire.
In 2018, Deyn appeared in the Netflix original movie The Titan as Dr. Freya.[28]
In 2019, Deyn starred in Alex Ross Perry's Her Smell as Marielle Hell, bassist for the fictional band Something She.
Design ventures
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In 2010, Deyn collaborated with her younger sister Emily to create a line of T-shirts and tank tops for high street chain Uniqlo.[29]
In 2012, Deyn began a design partnership with Dr. Martens called Agyness Deyn for Dr. Martens,[30] a line of accessories, shoes, and clothing. In spring of 2014, she planned to release a third collaboration with the brand.[31]
She currently works with the agencies Elite New York City, Why Not Model Agency in Milan, and Oui Management in Paris.
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bondvagabond · 2 years
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INTERVIEW WITH VAGABOND ON INTO THE AFTERMATH
After winning the Jury Prize at the Barrymore Short Film Festival for INTO THE AFTERMATH the John Barrymore Film Center that holds the festival did an interview with writer and director of INTO THE AFTERMATH, vagabond...
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If any fallout character(s) had different voice actors, who would you pick to voice them? I personally think Ivan Moody could do Charon from Fallout 3(maybe a pre-ghoul voice?).
(Oh boy, this is either gonna be really good or really bad 😭)
Cait:
I really can't imagine her with a different voice but..maybe the lead singer of cranberries? Dolores O'Riordan.
Curie:
Uhhhhhh, I'm drawing a blank for my sweet frenchie.
Danse:
I love his voice already but..Ryan Hurst? Probably not the worst take on this list.
Deacon:
Misha Collins. Look at some of his interviews and all the crazy voices he does, very Deacon-y behavior.
Gage:
I will live and die on this hill- Jensen Ackles. We must preserve the slight southern twang to his voice.
Hancock:
Doug cockle 😳
Macready:
Okay- hear me out. Ryan Reynolds?
Maxson:
Ugh, I was actually talking about this to one my friends on here. I hate to strip away his young voice buuut- Vladimir Kulich.
Nick:
Oh kill me..John Mulaney????
Piper:
Drew Barrymore.
Preston:
Jeremy Pope ❤️😩
X6-88:
Yep...blank here too
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aikainkauna · 7 years
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Picture-Play magazine, May 1927.
a) Lounging full-length on a settee in medieval robes, eating his lunch. NBD.
b) So *that’s* what really happened at the train station when they said he leapt to kiss Barrymore’s hand. *sigh* He really is incorrigible.
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From Picturegoer Weekly, July 29, 1933
Transcript follows:
“The Woman Who Thrilled Me, by Colin Clive”
In an interview with John Gliddon
It has become a Hollywood habit to send an urgent message to Colin Clive asking him to jump on the next boat for a rush journey to Los Angeles.
It has happened once a year since his first spectacular dash to Universal City to play his original part of Captain Stanhope in Journey’s End.
Now Colin is wise in the ways of Hollywood and has become an expert at packing his bags and leaving England at less than twenty-four hours’ notice; he packed in a hurry to star in Frankenstein: he did it again when Hollywood wanted him as Katharine Hepburn’s leading man in Christopher Strong.
That time he had two big thrills--meeting Katharine Hepburn, the Star Who Can Act, and finding out at first hand what it feels like to be in a Hollywood earthquake.
Let’s hear what Colin has to say about the Hepburn thrill before the earthquake is staged; but let me warn you about one thing. Colin Clive is one of those grand fellows who Hates Being Interviewed; he thinks going to the dentist is much better fun.
Maybe he is right. When I explained to him that we might just as well have a chat about Hollywood and not call it an interview, he brightened up a whole lot and ordered another drink.
Said Colin Clive in enthusiastic tones: “Katharine Hepburn is a grand girl. She is certainly different. There is nobody quite like her in Hollywood--or anywhere else, for that matter. What is her appeal? Certainly not beauty; she isn’t beautiful in the least, yet she has a magnetic personality and terrific vitality.”
“Katharine has got something bigger than beauty; she has got brains and above all things she is an actress, to her finger-tips.
“She is not just--a face, but a great personality. I said just now that she is not beautiful; that is true, though she understands the art of acting so amazingly that she can convey the illusion of beauty if the situation demands it.
“When you get to know Katharine Hepburn you are impressed by her natural intelligence. She can talk; I don’t mean chatter the usual Hollywood gossip, but talk like the intelligent woman she is about interesting things that happen in the bigger world beyond the Hollywood circle.
“Few stars talk interestingly on any topic--except themselves, but Katharine Hepburn is the delightful exception.
“On the set, I was impressed by her powers of tremendous concentration. She likes to rehearse, and rehearse until she feels the scene is right, even though her director may be quite satisfied by the scene as it stands.
“No, she always seems to strive after perfection in her acting.
“I have never known a star to be as painstaking as Miss Hepburn.
“In Christopher Strong, we both had the novel experience of being directed by a woman--Dorothy Arzner.
“Miss Arzner is a clever technician, but it seemed a bit queer, at first, being told what to do--by a woman!
“I got used to it after awhile, though another thing that struck me as a bit strange, until I got over the shock, was that Dorothy Arzner never lost her temper. I suppose she leaves that privilege to the male directors. She is very reserved, very gentle, very clever, and she is an ‘ace’ for angles.”
When shooting on Christopher Strong finished, a bank crash hit Hollywood, and nobody was allowed to draw out any money.
Colin wanted to return home. He took his cheques to the bank, but the banks were closed, and he had to wait until they were re-opened. He waited a few weeks and was getting tired of kicking his heels round Hollywood when the Metro-Goldwyn-Mayer studio snapped him up for Service, the screen version of Dodie Smith’s play of shop life.
The only bright spot in those weeks of waiting for the banks to resume business were some happy week-ends with Elizabeth Allan and husband Bill O’Bryan.
This young couple have made a hit with Hollywood.
Then he told me about that other big thrill--the earthquake.
“I was sitting in my hotel room writing to Jeanne (Jeanne de Casalis, Mrs. Colin Clive), when suddenly the radio started to screech and the lights flickered. Then I heard a rumble, the house quivered, my books came tumbling down, and great cracks appeared on the ceiling.
“I rushed downstairs and out into the street. There was tremendous excitement. People looked scared. Two girls fainted just in front of me. For a few moments there was panic.
“Then, though it seemed longer at the time, a few seconds later it was all over. There followed a series of small shocks but I wasn’t taking any chances and went back to my room and stood in the archway of the open door. That is the safest place I was told to stand when an earthquake is on.
“Coming home, I dreamt about that ‘quake and woke up in my cabin, having forgotten I was safely at sea, and jumped out of bed to stand in the archway of the cabin.
“Then I woke up--properly, and realized it was only a dream. You see, they are nasty things--earthquakes!
I gave Colin Clive a minute or two to get the impression of that earthquake out of his mind before asking him to talk about two other interesting members of the cast of Service, Lionel Barrymore and Lewis Stone.
“I have never met an actor with less personal pride than Lionel Barrymore,” he told me. “He is an extraordinarily well-read and intelligent man. When he talks it is always about something worth while, though I think he likes sleeping better than anything else.
“I have seen Lionel Barrymore enjoying a sound sleep in his chair at the side of the ‘set,’ yet the instant his cue comes he is wide awake and ready for the ‘shot.’
“Lewis Stone is another very delightful man; in fact he is one of the nicest men I have ever met. Reserved, cultured, charming and courteous to everybody, he certainly seems to know all there is to know about picture acting, yet, with all his experience, he never questions his director, or make suggestions of his own about how the scene should be played.
“Lewis Stone always does what he is told, and how well he does it!
“It was certainly an interesting experience, playing in Service with such splendid actors as Lionel Barrymore and Lewis Stone, though--what pleased me most of all--was the knowledge that ‘Liz’ Allan is regarded as one of the most promising of all Hollywood’s younger stars.
“It’s a grand break for an English girl to win personal popularity in Hollywood. But ‘Liz’ Allan seems everybody’s favourite.”
At the end of Service, James Whale offered Colin Clive the leading part in The Invisible Man, but as it meant waiting two months for the picture to begin, Clive felt he could not accept, though the part appealed to him as being “down his street.”
Colin Clive gets a kick out of playing parts like his grim role in Frankenstein; he certainly does not see himself as a leading man or a romantic lover. He wants the strong stuff.
When Colin Clive is home in England you will have to look for him right in the heart of the country.
Somewhere in Kent, he and Jeanne de Casalis have a small cottage where they spend as much time as possible, winter or summer.
“I have no use for parties,” Colin said to me, “I never go to them, and the only life I really enjoy is away from London, pottering about in the garden at the cottage.
“I suppose it may sound a bit queer for a fellow to say that there is no spot on the earth to compare with England when you want the joy of the simple life. Well, I have yet to discover anything better than English country life.”
That is a true portrait of Colin Clive, the star Hollywood always wants--in a hurry.
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Colleen Moore (born Kathleen Morrison; August 19, 1899 – January 25, 1988) was an American film actress who began her career during the silent film era. Moore became one of the most fashionable (and highly-paid) stars of the era and helped popularize the bobbed haircut.
A huge star in her day, approximately half of Moore's films are now considered lost, including her first talking picture from 1929. What was perhaps her most celebrated film, Flaming Youth (1923), is now mostly lost as well, with only one reel surviving.
Moore took a brief hiatus from acting between 1929 and 1933, just as sound was being added to motion pictures. After the hiatus, her four sound pictures released in 1933 and 1934 were not financial successes. Moore then retired permanently from screen acting.
After her film career, Moore maintained her wealth through astute investments, becoming a partner of Merrill Lynch. She later wrote a "how-to" book about investing in the stock market.
Moore also nurtured a passion for dollhouses throughout her life and helped design and curate The Colleen Moore Dollhouse, which has been a featured exhibit at the Museum of Science and Industry in Chicago, Illinois since the early 1950s. The dollhouse, measuring 9 square feet (0.84 m2), was estimated in 1985 to be worth of $7 million, and it is seen by 1.5 million people annually.
Moore was born Kathleen Morrison on August 19, 1899, (according to the bulk of the official records;[4] the date which she insisted was correct in her autobiography, Silent Star, was 1902)[5] in Port Huron, Michigan,[6] Moore was the eldest child of Charles R. and Agnes Kelly Morrison. The family remained in Port Huron during the early years of Moore's life, at first living with her grandmother Mary Kelly (often spelled Kelley) and then with at least one of Moore's aunts.
By 1905, the family moved to Hillsdale, Michigan, where they remained for over two years. They relocated to Atlanta, Georgia, by 1908. They are listed at three different addresses during their stay in Atlanta (From the Atlanta-Fulton Public Library city directories): 301 Capitol Avenue −1908; 41 Linden Avenue – 1909; 240 N. Jackson Street – 1910. They then lived briefly — probably less than a year — in Warren, Pennsylvania, and by 1911, they had settled in Tampa, Florida.
At age 15 she was taking her first step in Hollywood. Her uncle arranged a screen test with director D.W. Griffith. She wanted to be a second Lillian Gish but instead, she found herself playing heroines in Westerns with stars such as Tom Mix.
Two of Moore's great passions were dolls and movies; each would play a great role in her later life. She and her brother began their own stock company, reputedly performing on a stage created from a piano packing crate. Her aunts, who doted on her, indulged her other great passion and often bought her miniature furniture on their many trips, with which she furnished the first of a succession of dollhouses. Moore's family summered in Chicago, where Moore enjoyed baseball and the company of her Aunt Lib (Elizabeth, who changed her name to "Liberty", Lib for short) and Lib's husband Walter Howey. Howey was the managing editor of the Chicago Examiner and an important newspaper editor in the publishing empire of William Randolph Hearst, and was the inspiration for Walter Burns, the fictional Chicago newspaper editor in the play and the film, The Front Page.
Early years
Essanay Studios was within walking distance of the Northwestern L, which ran right past the Howey residence. (They occupied at least two residences between 1910 and 1916: 4161 Sheridan and 4942 Sheridan.) In interviews later in her silent film career, Moore claimed she had appeared in the background of several Essanay films, usually as a face in a crowd. One story has it she had gotten into the Essanay studios and waited in line to be an extra with Helen Ferguson: in an interview with Kevin Brownlow many years later, Ferguson told a story that substantially confirmed many details of the claim, though it is not certain if she was referring to Moore's stints as a background extra (if she really was one) or to her film test there prior to her departure for Hollywood in November 1917. Film producer D.W. Griffith was in debt to Howey, who had helped him to get both The Birth of a Nation and Intolerance through the Chicago censorship board.
"I was being sent to Hollywood - not because anybody out there thought I was any good, but simply to pay off a favor".
The contract to Griffith's Triangle-Fine Arts was conditional on passing a film test to ensure that her heterochromia (she had one brown eye, one blue eye) would not be a distraction in close-up shots. Her eyes passed the test, so she left for Hollywood with her grandmother and her mother as chaperones. Moore made her first credited film appearance in 1917 in The Bad Boy for Triangle Fine Arts, and for the next few years appeared in small, supporting roles gradually attracting the attention of the public.
The Bad Boy was released on February 18, and featured Robert Harron, Richard Cummings, Josephine Crowell, and Mildred Harris (who would later become Charles Chaplin's first wife). Two months later, it was followed by An Old-Fashioned Young Man, again with Robert Harron. Moore’s third film was Hands Up! filmed in part in the vicinity of the Seven Oaks (a popular location for productions that required dramatic vistas). This was her first true western. The film’s scenario was written by Wilfred Lucas from a story by Al Jennings, the famous outlaw who had been freed from jail by presidential pardon by Theodore Roosevelt in 1907. Monte Blue was in the cast and noticed Moore could not mount her horse, though horseback riding was required for the part (during casting for the part she neglected to mention she did not know how to ride). Blue gave her a quick lesson essentially consisting of how to mount the horse and how to hold on.
On May 3, 1917, the Chicago Daily Tribune said: "Colleen Moore contributes some remarkable bits of acting. She is very sweet as she goes trustingly to her bandit hero, and, O, so pitiful, when finally realizing the character of the man, she goes into a hysteria of terror, and, shrieking 'Daddy, Daddy, Daddy!' beats futilely on a bolted door, a panic-stricken little human animal, who had not known before that there was aught but kindness in the world." About the time her first six-month contract was extended an additional six months, she requested and received a five weeks release to do a film for Universal's Bluebird division, released under the name The Savage. This was her fourth film, and she was only needed for two weeks. Upon her return to the Fine Arts lot, she spent several weeks trying to get her to pay for the three weeks she had been available for work for Triangle (finally getting her pay in December of that year).
Soon after, the Triangle Company went bust, and while her contract was honored, she found herself scrambling to find her next job. With a reel of her performance in Hands Up! under her arm, Colin Campbell arranged for her to get a contract with Selig Polyscope. She was very likely at work on A Hoosier Romance before The Savage was released in November. After A Hoosier Romance, she went to work on Little Orphant Annie. Both films were based upon poems by James Whitcomb Riley, and both proved to be very popular. It was her first real taste of popularity.
Little Orphant Annie was released in December. The Chicago Daily Tribune wrote of Moore, "She was a lovely and unspoiled child the last time I saw her. Let’s hope commendation hasn’t turned her head." Despite her good notices, her luck took a turn for the worse when Selig Polyscope went bust. Once again Moore found herself unemployed, but she had begun to make a name for herself by 1919. She had a series of films lined up. She went to Flagstaff, Arizona for location work on The Wilderness Trail, another western, this time with Tom Mix. Her mother went along as a chaperone. Moore wrote that while she had a crush on Mix, he only had eyes for her mother. The Wilderness Trail was a Fox Film Corporation production, and while it had started production earlier, it would not be released until after The Busher, which was released on May 18. The Busher was an H. Ince Productions-Famous Players-Lasky production; it was a baseball film wherein the hero was played by John Gilbert. The Wilderness Trail followed on July 6, another Fox film. A few weeks later, The Man in the Moonlight, a Universal Film Manufacturing Company film was released on July 28. The Egg Crate Wallop was a Famous Players-Lasky production released by Paramount Pictures on September 28.
The next stage of her career was with the Christie Film Company, a move she made when she decided she needed comic training. While with Christie, she made Her Bridal Nightmare, A Roman Scandal, and So Long Letty. At the same time as she was working on these films, she worked on The Devil's Claim with Sessue Hayakawa, in which she played a Persian woman, When Dawn Came, and His Nibs (1921) with Chic Sale. All the while, Marshall Neilan had been attempting to get Moore released from her contract so she could work for him. He was successful and made Dinty with Moore, releasing near the end of 1920, followed by When Dawn Came.
For all his efforts to win Moore away from Christie, it seems Neilan loaned Moore to other studios most of the time. He loaned her out to King Vidor for The Sky Pilot, released in May 1921, yet another Western. After working on The Sky Pilot on location in the snows of Truckee, she was off to Catalina Island for work on The Lotus Eater with John Barrymore. In October 1921, His Nibs was released, her only film to be released that year besides The Sky Pilot. In His Nibs, Moore actually appeared in a film within the film; the framing film was a comedy vehicle for Chic Sales. The film it framed was a spoof on films of the time. 1922 proved to be an eventful year for Moore as she was named a WAMPAS Baby Star during a "frolic" at the Ambassador Hotel which became an annual event, in recognition of her growing popularity.[13] In early 1922, Come On Over was released, made from a Rupert Hughes story and directed by Alfred E. Green. Hughes directed Moore himself in The Wallflower, released that same year. In addition, Neilan introduced her to John McCormick, a publicist who had had his eye on Moore ever since he had first seen her photograph. He had prodded Marshall into an introduction. The two hit it off, and before long they were engaged. By the end of that year, three more of her films were released: Forsaking All Others, The Ninety and Nine, and Broken Chains.
Look Your Best and The Nth Commandment were released in early 1923, followed by two Cosmopolitan Productions, The Nth Commandment and Through the Dark. By this time, Moore had publicly confirmed her engagement to McCormick, a fact that she had been coy about to the press previously. Before mid-year, she had signed a contract with First National Pictures, and her first two films were slated to be The Huntress and Flaming Youth. Slippy McGee came out in June, followed by Broken Hearts of Broadway.
Moore and John McCormick married while Flaming Youth was still in production, and just before the release of The Savage. When it was finally released in 1923, Flaming Youth, in which she starred opposite actor Milton Sills, was a hit. The controversial story put Moore in focus as a flapper, but after Clara Bow took the stage in Black Oxen in December, she gradually lost her momentum. In spring 1924 she made a good but unsuccessful effort to top Bow in The Perfect Flapper, and soon after she dismissed the whole flapper vogue; "No more flappers...people are tired of soda-pop love affairs." Decades later Moore stated Bow was her "chief rival."
Through the Dark, originally shot under the name Daughter of Mother McGinn, was released during the height of the Flaming Youth furor in January 1924. Three weeks later, Painted People was released. After that, she was to star in Counterfeit. The film went through a number of title changes before being released as Flirting with Love in August. In October, First National purchased the rights to Sally for Moore's next film. It would be a challenge, as Sally was a musical comedy. In December, First National purchased the rights to Desert Flower and in so doing had mapped out Moore's schedule for 1925: Sally would be filmed first, followed by The Desert Flower.
By the late 1920s, she had accomplished dramatic roles in films such as So Big, where Moore aged through a stretch of decades, and was also well received in light comedies such as Irene. An overseas tour was planned to coincide with the release of So Big in Europe, and Moore saw the tour as her first real opportunity to spend time with her husband, John McCormick. Both she and John McCormick were dedicated to their careers, and their hectic schedules had kept them from spending any quality time together. Moore wanted a family; it was one of her goals.
Plans for the trip were put in jeopardy when she injured her neck during the filming of The Desert Flower. Her injury forced the production to shut down while Moore spent six weeks in a body cast in bed. Once out of the cast, she completed the film and left for Europe on a triumphal tour. When she returned, she negotiated a new contract with First National. Her films had been great hits, so her terms were very generous. Her first film upon her return to the States was We Moderns, set in England with location work done in London during the tour. It was a comedy, essentially a retelling of Flaming Youth from an English perspective. This was followed by Irene (another musical in the style of the very popular Sally) and Ella Cinders, a straight comedy that featured a cameo appearance by comedian Harry Langdon. It Must Be Love was a romantic comedy with dramatic undertones, and it was followed by Twinkletoes, a dramatic film that featured Moore as a young dancer in London's Limehouse district during the previous century. Orchids and Ermine was released in 1927, filmed in part in New York, a thinly veiled Cinderella story.
In 1927, Moore split from her studio after her husband suddenly quit. It is rumored that John McCormick was about to be fired for his drinking and that she left as a means of leveraging her husband back into a position at First National. It worked, and McCormick found himself as Moore's sole producer. Moore's popularity allowed her productions to become very large and lavish. Lilac Time was one of the bigger productions of the era, a World War I drama. A million dollar film, it made back every penny spent within months. Prior to its release, Warner Bros. had taken control of First National and were less than interested in maintaining the terms of her contract until the numbers started to roll in for Lilac Time. The film was such a hit that Moore managed to retain generous terms in her next contract and her husband as her producer.
In 1928, inspired by her father and with help from her former set designer, a dollhouse was constructed by her father, which was 9 square feet with the tallest tower 12 feet high. The interior of The Colleen Moore Dollhouse, designed by Harold Grieve, features miniature bear skin rugs and detailed furniture and art. Moore's dollhouse has been a featured exhibit at the Museum of Science and Industry in Chicago, Illinois since October 30, 1949, where according to the museum, it is seen by 1.5 million people each year and would be worth $7 million. Moore continued working on it and contributing artifacts to it until her death.
This dollhouse was the eighth one Moore owned. The first dollhouse, she wrote in her autobiography Silent Star (1968), evolved from a cabinet that held her collection of miniature furniture. It was supposedly built from a cigar box. Kitty Lorgnette wrote in the Saturday, August 13, 1938 edition of The Evening News (Tampa) that the first dollhouse was purchased by Oraleze O'Brien (Mrs. Frank J. Knight) in 1916 when Moore (then Kathleen) left Tampa. Oraleze was too big for dollhouses, however, and she sold it again after her cat had kittens in it, and from there she lost track of it. The third house was possibly given to the daughter of Moore's good friend, author Adela Rogers St. Johns. The fourth survives and remains on display in the living room of a relative.
With the advent of talking pictures in 1929, Moore took a hiatus from acting. After divorcing McCormick in 1930, Moore married prominent New York-based stockbroker Albert Parker Scott in 1932. The couple lived at that time in a lavish home at 345 St. Pierre Road in Bel Air, where they hosted parties for and were supporters of the U.S. Olympic team, especially the yachting team, during the 1932 Summer Olympics held in Los Angeles.
In 1934, Moore, by then divorced from Albert Parker Scott, returned to work in Hollywood. She appeared in three films, none of which was successful, and Moore retired. Her last film was a version of The Scarlet Letter in 1934. She later married the widower Homer Hargrave and raised his children (she never had children of her own) from a previous marriage, with whom she maintained a lifelong close relationship. Throughout her life she also maintained close friendships with other colleagues from the silent film era, such as King Vidor and Mary Pickford.
In the 1960s, Moore formed a television production company with King Vidor with whom she had worked in the 1920s. She also published two books in the late 1960s, her autobiography Silent Star: Colleen Moore Talks About Her Hollywood (1968) and How Women Can Make Money in the Stock Market (1969). She also figures prominently alongside King Vidor in Sidney D. Kirkpatrick's book, A Cast of Killers, which recounts Vidor's attempt to make a film of and solve the murder of William Desmond Taylor. In that book, she is recalled as having been a successful real estate broker in Chicago and partner in the investment firm Merrill Lynch after her film career.
Many of Moore's films deteriorated, but not due to her own neglect, after she had sent them to be preserved at the Museum of Modern Art. Some time later, Warner Brothers asked for their nitrate materials to be returned to them. Moore's earlier First National films were also sent, since Warners later acquired First National. Upon their arrival, the custodian at MOMA, not seeing the films on the manifest, put them to one side and never went back to them. Many years later, Moore inquired about her collection and MOMA found the films languishing unprotected. When the films were examined, they had decomposed past the point of preservation. Heartbroken, she tried in vain to retrieve any prints she could from several sources without much success. In 1956, the material from WB and FN was sold to Associated Artists Productions, later to MGM/UA and then, Turner Entertainment.
At the height of her fame, Moore was earning $12,500 per week. She was an astute investor, and through her investments, remained wealthy for the rest of her life. In her later years she would frequently attend film festivals, and was a popular interview subject always willing to discuss her Hollywood career. She was a participant in the documentary series Hollywood (1980), providing her recollections of Hollywood's silent film era.
Moore was married four times. Her first marriage was to John McCormick of First National Studios. They married in 1923 and divorced in 1930. In 1932, Moore married stockbroker Albert P. Scott. This union ended in divorce in 1934. Moore's third marriage was to Homer Hargrave, whom she married in 1936; he provided funding for her dollhouse and she adopted his son, Homer Hargrave, Jr and his daughter, Judy Hargrave. They remained married until Hargrave's death in 1965. In 1982, Moore married her final husband, builder Paul Magenot. They were married until Moore's death in 1988.
On January 25, 1988, Moore died from cancer in Paso Robles, California, aged 88. For her contribution to the motion picture industry, Colleen Moore has a star on the Hollywood Walk of Fame at 1551 Vine Street.
F. Scott Fitzgerald wrote of her: "I was the spark that lit up Flaming Youth, Colleen Moore was the torch. What little things we are to have caused all that trouble."
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tabloidtoc · 3 years
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Star, January 25
You can now buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks
Cover: Meghan Markle’s life is a lie 
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Page 1: Emma Stone’s baby joy -- after months of speculation thrilled mom-to-be Emma debuts her baby bump during a hike with a pal 
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Page 2: Contents, Sutton Foster and Nico Tortorella and Debi Mazar filmed a scene for Younger’s final season 
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Page 4: Candace Cameron Bure came out swinging again against commenters on a holiday pic she posted on Instagram of her and her husband Valeri Bure and kids Natasha and Lev and Maksim and she got a load of snark for the heavily retouched pic 
Page 5: Karlie Kloss usually steers clear of dishing on her sister- and brother-in-law Ivanka Trump and Jared Kushner but on January 6 Karlie broke her silence after Ivanka tweeted and quickly deleted a post calling a pro-Trump mob storming the U.S. Capitol building American patriots and Karlie begged to differ tweeting that accepting the results of a legitimate democratic election is patriotic and when one Twitter user urged her to tell her brother-in-law and sister-in-law she lamented I’ve tried 
* Olivia Jade Giannulli posted a clip of herself dancing maskless at a beach-house party and the New Year’s Day Insta came days after her mom Lori Loughlin was sprung from prison and the clip which featured her toasting with a glass of vino came less than a month after she aired her regrets in an interview -- the party girl feels she’s suffered too from the scandal and she was just letting off steam 
* Rege-Jean Page has sent pulses racing with his groundbreaking role as the rakish Duke of Hastings in Bridgerton but it was his reference to James Bond’s legendary martini preference in a tweet that had fans speculating he’s in line to take over from Daniel Craig as the next 007 -- the biracial actor has been vocal about the importance of inclusive casting 
Page 6: Jessica Simpson whose own father once bragged about her double Ds is enjoying a very particular benefit of her recent 100-lb slimdown which is she’s gone down two cup sizes and she says she feels more athletic and her body is more in proportion -- in addition to easing back pain she feels a different sort of weight has lifted because all that talk about her breasts made her feel they overshadowed her as a person 
* Drew Barrymore is nursing a private pain as her ex-husband Will Kopelman went public with his new love Vogue staffer Alexandra Michler and the two are serious while Drew is still single and she is alone and feeling like the odd man out -- there are times when Drew absolutely regrets divorcing Will especially now that he’s dating again and Drew was holding out hope for a reunion but when she discovered Will was seeing someone new she knew there was a good chance it may not happen and even worse her own attempts at finding romance have fallen flat as she’s tried online dating a few times but had no luck 
* Star Spots the Stars -- Jimmy Fallon and wife Nancy Juvonen, Jennifer Lopez, Eva Longoria, Ryan Seacrest, Jenna Dewan, Aubrey Plaza, JD Martinez 
Page 8: Star Shots -- John Legend gave his son Miles a zip around the water on a jet ski during a vacation in St. Barths, Ellen DeGeneres on a bike after lunch with friends in Santa Barbara, Brooke Burke dressed in wintry workout gear sipped a hot drink 
Page 10: Leslie Jones on Celebrity Wheel of Fortune, Christina Aguilera playing video games with her son Max 
Page 12: Kit Harington takes his dog for a walk in London, Sean “Diddy” Combs passed out gift cards and gift bags to those in need in Miami, Mindy Kaling online shopping 
Page 13: Gabrielle Union and her husband Dwyane Wade on a hike, Jenny McCarthy maneuvered her trash bins to the curb in Chicago 
Page 14: Coach Tom Jones on The Voice UK, EJ Johnson at the beach in Miami, Margaret Qualley and boyfriend Shia LaBeouf on a hike in L.A., Dua Lipa eating during a getaway in Tulum, Mexico 
Page 16: Normal or Not? Tori Spelling out in Los Angeles with her dogs and husband Dean McDermott -- normal, Nicole Kidman and an alpaca -- not normal 
Page 17: Jennifer Garner playing the drinking game from The Crown in which participants who can’t repeat a phrase correctly must smudge their faces -- not normal, Kate Bosworth celebrated her birthday with husband Michael Polish and some bubbly in Beverly Hills -- normal 
Page 18: Fashion -- stars stun in Pantone colors of the year Illuminating Yellow and Ultimate Gray -- Mindy Kaling, Thandie Newton, Jorja Smith 
Page 19: Ariana Grande, Zoey Deutch 
Page 24: Olivia Wilde made news stepping out as Harry Styles’ plus-one to his agent’s wedding in Montecito and he introduced her as his girlfriend as the two mingled and held hands -- the next day Harry and Olivia who hit it off on the set of her upcoming psychological thriller Don’t Worry Darling in which he stars were spotted heading into his L.A. home -- wedding guests weren’t the only ones surprised by the new couple as Olivia’s ex Jason Sudeikis dad to her kids Otis and Daisy has been nurturing hope of a reunion since their split in late 2020 and he was surprised she’d go for one of the actors in her movie -- now Olivia is conflicted because she’s having fun with Harry but there’s no denying her feelings for Jason continue to linger and some are betting her romance with Harry will flame out in no time and no one would be surprised if Olivia and Jason ended up getting back together 
Page 25: Florence Pugh and Zach Braff had Hollywood abuzz after a pal wished her a happy birthday on social media and cryptically referred to her as FPB -- that extra B caused many to surmise that Florence has quietly exchanged vows with Zach and taken his last name and Florence hasn’t done much to shut down speculation by strategically hiding her ring finger in photos shared on Instagram 
* Zoe Kravitz filed for divorce from Karl Glusman after 18 months of marriage because she was fed up with having an MIA husband -- things between the two hit a breaking point after Karl failed to check in with his wife while filming Please Baby Please in Butte, Montana -- Zoe couldn’t take being ignored and when she and Karl finally spoke they had a big fight and she pulled the plug shortly afterwards 
* They called it quits in October after two years together but Bethenny Frankel and Paul Bernon are now giving their relationship another shot -- they split up because their long-distance romance proved too difficult but Bethenny really missed him and it turns out Paul missed her too and it seems second time’s a charm because a loved-up Bethenny and Paul indulged in PDA at a Miami studio as they watched her daughter paint with the artist
Page 26: Cover Story -- Meghan Markle exposed -- Meghan’s older half-sister is dishing some major dirt about the former actress’ rise to royalty in her new bombshell book 
Page 30: Inside Kim Kardashian’s escape -- Kim reached her breaking point with Kanye West months ago but took many steps before she finally left him 
Page 32: It Ain’t Over Till It’s Over -- these celebs more than made up after breaking up and they made it all the way down the aisle -- Justin Timberlake and Jessica Biel, Kelly Ripa and Mark Consuelos, Adam Levine and Behati Prinsloo 
Page 33: Kristen Bell and Dax Shepard, Chrissy Teigen and John Legend, Prince William and Kate Middleton 
Page 36: Beauty -- sweet dreams -- get better ZZZs and wake up looking gorgeous with products that nourish 
Page 38: Entertainment 
Page 48: Parting Shot -- Splashing out on a romantic getaway in Tulum, Mexico Bella Thorne and boyfriend Benjamin Mascolo made time to keep it tight on the sand 
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papermoonloveslucy · 3 years
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DINNER AT EIGHT
February 18, 1940
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The Campbell Playhouse (1938–1940) was a live CBS radio drama series directed by and starring Orson Welles. Produced by Welles and John Houseman, it was a sponsored continuation of The Mercury Theatre on the Air. As a direct result of the front-page headlines Orson Welles generated with his 1938 Halloween production "The War of the Worlds", Campbell's Soup signed on as sponsor. The Mercury Theatre on the Air made its last broadcast December 4, 1938, and The Campbell Playhouse began December 9, 1938.
The series offered hour-long adaptations of classic plays and novels, as well as adaptations of popular motion pictures. When Campbell’s exerted more creative control over the selection of material, Welles left the show. 
Bernard Herrmann was the series’ composer and conductor. The opening theme was “Piano Concerto No. 1 in B-Flat Minor” by Tchaikovsky.
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DINNER AT EIGHT was originally written by George S. Kaufman and Edna Ferber as a play which opened October 22, 1932, at Broadway’s Music Box Theatre, and closed May 6, 1933 after 232 performances.  
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In 1933, (the same year Lucille Ball arrived in Hollywood), the play was turned into an MGM film by George Cukor. The role of Kitty (played by Lucille Ball on radio) was played by Jean Harlowe. 
The play was also revived on Broadway several times and was made for television. 
Synopsis ~ The Jordan family are planning a society dinner. The story concerns what they, as well as various friends and acquaintances - all of whom have their own problems and ambitions - do as they prepare for the event.
CAST
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Lucille Ball (Kitty Packard)
Orson Welles (Host / Dan Packard / Larry Renault) was three months away from embarking on his masterwork, Citizen Kane, when this radio play was aired. Before Lucille Ball dated Ed Hall and Desi Arnaz, Welles was often seen on her arm at public events. Lucy and Desi later allowed him to reside in their guest house and starred him in an episode of “I Love Lucy”. 
Hedda Hopper (Millicent Jordan) was then broadcasting her own radio show “Hedda Hopper’s Hollywood” as well as writing a syndicated column.  She appeared on “I Love Lucy” and “The Lucy-Desi Comedy Hour.” As an actress, she did two with Lucille Ball: Bunker Bean (1936) and That’s Right – You’re Wrong (1939). Hopper was best known for her flamboyant hats.
Charles Trowbridge (Oliver Jordan) originated the role of Oliver Jordan in the Broadway production of Dinner at Eight although the role was played by Lionel Barrymore on screen. He did two films with Lucille Ball: Her Husband’s Affairs (1947) and A Woman of Distinction (1950). 
Marjorie Rambeau (Carlotta Vance) was only a month away from the premiere of her film Primrose Path, which would earn her an Oscar nomination in 1941. 
Benny Rubin (Max Kane) was heard on “My Favorite Husband” as well as doing an episode of “I Love Lucy” and several appearances on “The Lucy Show.” 
Clara Blandick (Hattie Loomis) had just created the role of Aunt Em in The Wizard of Oz, which is what she is best known for despite her many other credits. including four films with Lucille Ball, three of those in 1934 alone. 
Mary Taylor (Paula Jordan) had previously worked with Welles on Mercury Theatre of the Air. 
Edgar Barrier (Dr. Talbot) was previously directed by Welles in the 1938 film Too Much Johnson. 
Ernest Chappell (Announcer) served in the same capacity for TV’s “The Big Story” (1951-57)/  
THE EPISODE
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Orson Welles introduces the show, Kaufman and Ferber’s play Dinner at Eight.  He tells the audience that we never see (or hear) the actual dinner in Dinner at Eight. He talks about his three leading ladies: 
Hedda Hopper “who was a distinguished actress before she branched out into her present career of acting and ‘columning’.” 
Miss Lucille Ball “is the beautiful and talented young lady who’s position in Hollywood is becoming increasingly more important.” 
Marjorie Rambeau “one of the first talents of the theatre who is carving out a new career in motion pictures.”  
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Welles introduces Ernest Chappell, who does a pitch for Campbell’s Vegetable Soup. 
“Whether you’re having dinner at eight or supper at six.”
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As the story begins, Millicent Jordan (Hedda Hopper) is on the telephone inviting people to her dinner party. Her husband, Oliver (Charles Trowbridge), comes in. She tells him how the guest list is shaping up. He suggests she invite Dan and Millicent Packard, although she thinks she’s a horrible woman. Paula (Mary Taylor), her daughter, comes in. She’s engaged to be married to Ernest but is still maintaining an active social life. She’s been seen nightly at 21.
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MILLICENT: “Some day I’m going to find out what goes on at 20 -- and at 22, too!”    
Paula runs out. Hattie (Clara Blandick) comes in and she and Millicent gossip about that “Packard Woman”.  As Hattie leaves for her shopping trip, Millicent reluctantly phones Mrs. Packard to invite her to her dinner party. 
The scene cross fades to Mrs. Packard (Lucille Ball) hanging up with Mrs. Jordan.  She is in bed awaiting the doctor with her maid Tina. Mrs. Packard is eating chocolates, guessing what is inside each one. 
Meanwhile, Carlotta Vance (Marjorie Rambeau) barges in while Oliver Jordan is in his office on the telephone. She demands to know why the Customs Office says she cannot own six fur coats. They discuss Mr. Vance’s assets, including a theatre she is longing to sell - calling it a fleabag.  She is a stockholder in Mr. Jordan’s company.  He urges her not to sell.  They reminisce about their younger days, when they were courting.  He once proposed marriage. 
Dan Packard (Orson Welles) enters the office. He recognizes her from her days on the stage.  Before she departs, Jordan confirms that she is coming to dinner next Friday.  Jordan and Packard talk business. The Jordan Line Shipping is in financial straights and he wants a loan from Packard, who promises to consider it. 
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Back at the Packards, Dan arrives to find Kitty still in bed. He complains that Jordan cannot handle his business and he aims to buy them out. Dan says he won’t go to dinner there and Kitty is not happy about it. She tries wheedling him and she mentions the dinner is for Lord and Lady Ferncliff.  He says he is going to buy out Jordan using dummy stock holders.  
Doctor Talbot (Edgar Barrier) arrives to examine Kitty. We learn that they are having an affair. The music swells and the scene transitions to...
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Mrs. Jordan, still planning her dinner party, looking for one more man to balance her table. Hattie and Mrs. Jordan, suddenly get a brilliant idea for their final guest - movie star Larry Renault.
Meanwhile, Paula visits her paramour, Larry Renault (also Orson Welles). They are in love. She warns him not to drink so much. His agent Max Kane (Benny Rubin) has gotten him a part in a play. He tells her she should just marry Ernest. Renault has been married three times and is almost 40!  His second wife drove off a cliff and his third is now the biggest star in Hollywood.  Paula impulsively says she is going to tell everyone about their love - including her parents! 
Kane arrives and Paula leaves to find urges him to stop drinking and get in shape. Kane breaks the news that the play is off!  The new producer doesn’t want him. He’s been replaced by an English actor. Kane suggests he take a smaller role in the play. Kane suggest he humble himself to the new producer, but Renault is indignant. 
“I’m Larry Renault!  I don’t go to managers with my hat in my hand!” 
At the Jordan home, Carlotta and Millicent talk about the party, including the invitation of Lord Ferncliff, who everyone calls “Stinky”.  When Mr. Jordan comes home, she confides to Oliver that she has sold her Jordan stock.  It seems she isn’t the only one who has sold Jordan stock that day. 
A phone call informs Millicent that the Ferncliffs are going to Florida and can’t come to dinner after all!  Just then, Paula comes home to tell her mother urgent news about her engagement to Ernest. Oliver says he is feeling unwell, and wants to go to bed instead of having dinner. Millicent is at wits end with the party cancellations and her family’s drama!
END OF ACT ONE
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Ernest Chappell returns to urge mothers to get their child’s recommended serving of milk by adding it to Campbell’s Tomato, Celery, and Asparagus soups. 
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ACT TWO
That night, Renault is drunk. Kane brings up Mr. Stingle, the new producer of the play. Renault bullies Mr. Stingle calling him a hack. Stingle abruptly leaves.  Renault blames Kane, who tells him he’s washed up in show business. 
KANE: “You’re a corpse and you don’t know it! Go get yourself buried.” 
Kane leaves and Renault pours himself another drink - the last one in the bottle. He’s visited by a hotel manager who tells him he’s being evicted from his suite.  He calls the operator and tells him not to put any calls through. Larry turns on the gas.  
At dinner, introductions are made. Seems as if Mrs. Packard already knows Dr. Talbot. Mrs. Jordan says that Lord Ferncliff’s absence is due to ill health. Carlotta brings her little dog, which she wants fed lobster.  She inadvertently announces that Lord and Lady Ferncliff are vacationing, not ill at all.  Everyone wonders where Larry Renault is.  Paula enters and Mrs. Jordan decides they shouldn’t wait for Renault.  
Paula is distracted.  She phones the hotel to speak with Renault and they refuse to connect her. They mention the police and then Paula goes silent.  The police would like to speak with her.  
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END OF PLAY
Ernest Chappell, having addressed the women at the intermission, addresses the men in the audience, touting the hearty comforts of Campbell’s Soups. 
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Orson Welles returns for an interview with the female guest stars.  Welles insists that her participation tonight will lead to something vile in her column tomorrow!  He points out that her character spent a lot of time on the telephone in the story. Welles attributes the modern gossip column to the invention of the telephone, who he jokingly credits to Don Ameche!  
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The Story of Alexander Graham Bell is a somewhat fictionalized 1939 biographical film of the famous inventor that starred Don Ameche as Bell and Loretta Young as his wife Mabel. Coincidentally, the film also featured Charles Trowbridge (Oliver Jordan in tonight’s radio play).
In scripted banter, Miss Rambeau recalls happier days when there were no columns, which gets Hopper hopping mad!  Welles begs Miss Ball to intervene.
LUCY: “On behalf of Kitty Packard, I think Mrs. Jordan and Mrs. Vance ought to call it a day - both of them. Just because a girl likes to have a bit of fun and not sit around like a piece of furniture or something you’d think butter wouldn’t melt in their mouths---”. 
Welles interrupts the cat fight to bid everyone goodnight, but not without a reminder that next Sunday, Only Angels Have Wings, starring Joan Blondell. 
‘DINNER’ TRIVIA
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This is one of four characters named Kitty that Lucille Ball has played.  Others were in Follow The Fleet (1936), Without Love (1945), and The Facts of Life (1960).
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In the 1933 film version, Elizabeth Patterson plays Miss Copeland, secretary to Oliver Jordan (Lionel Barrymore). Patterson went on to play Mrs. Trumbull on “I Love Lucy.” 
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A clip from the 1933 film was included in “Toast of the Town’s 30th Anniversary Tribute to MGM”, a program that also featured its star Lionel Barrymore (Oliver Jordan), Lucille Ball and Desi Arnaz.
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Paul Harvey, who played the New York Times Art Critic in “Lucy the Sculptress” (ILL S2;E15) had his greatest success on Broadway as Dan Packard in the original cast of Dinner at Eight. His role was taken in the film by Wallace Beery. 
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A 1955 CBS television version of Dinner at Eight featured “Lucy” cast members Eleanor Audley (as Carlotta Vance), Pierre Watkin, and Tristram Coffin.  She is seen above on “I Love Lucy” with Peter Bucco. 
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In the 1989 TV movie of Dinner at Eight, Kitty Packard (the character played by Lucille Ball on radio) was played by Ellen Greene, famous for playing Audrey on stage and screen in Little Shop of Horrors. In that musical she sings about “Lucy”!
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The 1966 Broadway revival of Dinner at Eight was at the Alvin Theatre (now the Neil Simon), the same theatre where Lucille Ball did Wildcat five years earlier. 
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Season 4 episodes of “Here’s Lucy” were sponsored by Campbell’s Soup. The DVD includes a commercial that features Dodie Goodman and Eddie Bracken. Coincidentally, Bracken is credited with introducing Lucille Ball and Desi Arnaz when they were starring in the film version of Too Many Girls in 1940, the same year as this radio broadcast. 
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Campbell’s Soup was immortalized in paint by artist Andy Warhol in 1962. Twenty years later he used Lucille Ball as his muse. 
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The 2002 Broadway revival of Dinner at Eight at Lincoln Center’s Vivian Beaumont Theatre starred Emily Skinner as Kitty (the role played by Lucille Ball on radio). Skinner played Lucille Ball on Broadway in The Cher Show which played at....yes...the Alvin Theatre!
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tcm · 4 years
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All Persons Fictitious: The Royal Lawsuit That Created a Disclaimer By Jessica Pickens
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Their legacy still glows with myths and speculation. The Romanovs, the last royal family of Russia, have been the focus of films and television shows for 100 years following their execution in 1918. Several fictional stories speculate about what happened to the family. Some focus on a royal family member still living after escaping the execution, and other stories focus on the bizarre figure of “the mad monk” Rasputin.
The 1930s pre-Code RASPUTIN AND THE EMPRESS (‘32) added to the speculation of Rasputin and the resulting lawsuits from the film have left a lasting impact on the film industry. The plot of Metro-Goldwyn-Mayer’s film focuses on the relationship between Empress Alexandra and Rasputin, who seemingly could cure the young Tsarevich Alexei of his hemophilia illness. Meanwhile, Rasputin works his power over the royal family to gain power in Russia.
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RASPUTIN AND THE EMPRESS starred acting royalty: siblings Lionel, Ethel and John Barrymore. It is the only film the three Barrymores starred in together and was Ethel’s first talking picture. Lionel played Rasputin, Ethel played Empress Alexandra and John played the so-called fictional character, Prince Paul Chegodieff. The siblings were flanked by Ralph Morgan as Tsar Nicholas and Tad Alexander as Tsarevich Alexei in the supporting cast.
The story highlighted Rasputin’s wild reputation of parties and women. To add shock value to the film, producer Bernard Hyman included a scene of Rasputin attacking Princess Natasha, played by Diana Wynyard. The film ends with Prince Paul Chegodieff killing Rasputin in the storied manner, including poison, gun shots and stabbings.
Though Tsar Nicholas, Empress Alexandra, their four daughters and son were killed on July 17, 1918, many members of the royal family and Russian nobility were still living when the film was released on December 23, 1932.
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Fictional names were created for several characters and they are identified or labeled as “fictional character” in the opening credits. These characters include:
• Prince Paul Chegodieff played by John Barrymore
• Princess Natasha played by Diana Wynyard
• Grand Duke Igor played by C. Henry Gordon
• Doctor Remezov played by Edward Arnold
While these characters were noted to be fiction, members of the royal family recognized themselves in the plot. This included husband and wife nobles Prince Felix Yusupov and Princess Irina Romanoff Youssoupoff, who were compared to Prince Paul and Princess Natasha.
The New York Times film critic Mordaunt Hall also recognized the real life figures too in his December 24, 1932, review: “Mr. Boleslavsky has worked out his episodes in an impressive fashion, particularly the fight between Prince Chegodieff, as Prince Youssoupoff is known here, and the "Mad" Monk and the subsequent killing of Rasputin.”
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Prince Felix and Princess Irina each sued for the similarities between themselves and the characters. Prince Felix sued MGM in 1932, saying that “the incidents surrounding the historic drama and the manner and method of the killing of Rasputin were neither fair nor true,” according to the book Rasputin in Hollywood by David Napley.
Then in March 1933, Princess Irina pursued a $2 million lawsuit against MGM; saying that the character of Princess Natasha was a thinly disguised impersonation of herself. Princess Irina said that the film’s plot humiliated her internationally and the damages she suffered were “incalculable,” demanding that MGM withdraw the film from public exhibition, according to an The Associated Press article written February 28, 1934.
Prince Felix’s lawsuit was dropped, because he couldn’t claim damages simply because the way Rasputin was murdered wasn’t the same way he carried out the murder. However, Princess Irina’s lawsuit yielded results.
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For one, Princess Natasha’s rape was edited out of the film, resulting in the issue that conversations had later in the story along with Rasputin’s hypnotic power over Princess Natasha no longer make sense in the plot. Secondly, the lawsuit resulted in a disclaimer that was added to films and television shows ever since: "This motion picture is a work of fiction and any resemblance to persons living or dead is purely coincidental."
Prince Felix Yusupov’s story was later told again in the 1967 film J'ai tué Raspoutine (I Killed Rasputin), but this time with his approval. Prince Felix approved the script and was interviewed in the film’s introduction.
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