Musical Monday: That Midnight Kiss (1949)

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
That Midnight Kiss (1949)– Musical #258

Studio:
Metro-Goldwyn-Mayer

Director:
Norman Taurog

Starring:
Kathryn Grayson, Mario Lanza, Ethel Barrymore, Keenan Wynn, J. Carrol Naish, Jules Munshin, Thomas Gomez, Arthur Treacher, Marjorie Reynolds
Themselves: José Iturbi, Amparo Iturbi
Narrator: Leon Ames

Plot:
Wealthy Abigail Trent Budell (Barrymore) wants pianist José Iturbi (himself) to help launch the opera career of her granddaughter Prudence (Grayson). Iturbi finds her talented and Abigail sponsors an opera company so Prudence can get her start. With a new talent, famous tenor Guido Russino Betelli (Gomez) is hired as her lead. Betelli is demanding and difficult to work with. Abigail meets singing truck driver Johnny Donnetti (Lanza) and encourages Iturbi to also make him a singing star.

Continue reading

Advertisements

Musical Monday: New Moon (1940)

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
New Moon” (1940)– Musical #374

Poster - New Moon (1940)_02

Studio:
Metro-Goldwyn-Mayer

Director:
Robert Z. Leonard, W.S. Van Dyke (uncredited)

Starring:
Jeanette MacDonald, Nelson Eddy, Mary Boland, George Zucco, Dick Purcell, Grant Mithcell, Joe Yule, Nat Pendleton (uncredited), Buster Keaton (scenes deleted)

Plot:
Marianne de Beaumanoir (MacDonald) is heading from France to New Orleans. On the same boat as a prisoner is nobleman Duc de Villiers (Eddy), using the name of Charles Henri. Marianne meets him on board, believing that he’s the ship’s captain. He is sold as a servant in New Orleans and becomes the servant of Marianne, and she is angry that he lied to her. Little to their knowledge, Charles’ enemies are sailing to New Orleans from France.

Continue reading

Musical Monday: Words and Music (1948)

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
Words And Music(1948)– Musical #69

words and music

Studio:
Metro-Goldwyn-Mayer

Director:
Norman Taurog

Starring:
Tom Drake as Richard Rodgers and Mickey Rooney as Lorenz Hart
Also Starring: June Allyson, Cyd Charisse, Perry Como, Vera-Ellen, Judy Garland, Betty Garrett, Lena Horne, Gene Kelly, Janet Leigh, Jeannette Nolan, Richard Quine, Ann Sothern, Clinton Sundberg, Marshall Thompson, Mel Torme

Plot:
Fictional biographical film of the songwriters Richard Rodgers and Lorenz Hart, chronicling their success on Broadway, abroad and in Hollywood.

Songwriters Richard Rodgers and Lorenz Hart in the 1930s. Their career is portrayed in "Words and Music."

Songwriters Richard Rodgers and Lorenz Hart in the 1930s. Their career is portrayed in “Words and Music.”

Trivia:
-The project started in 1946 and was originally titled, “With a Song in My Heart” and then “Easy to Remember,” according to A Ship Without A Sail: The Life of Lorenz Hart by Gary Marmorstein.

-Richard Rodgers hated the movie, according to Marmostein’s book.

-Lyricist Lorenz Hart, who Mickey Rooney plays in the film, died in 1943 at age 48. Richard Rodgers was 46 when this film was released and passed away in 1979. After Hart passed away, Rodgers became songwriting parterns with Oscar Hammerstein.

-“Words and Music” was Perry Como’s first film with MGM after signing a seven year contract. His MGM career ended promptly with this film after he sang happy birthday to Louis B. Mayer and ended it with an insult, according to the book Perry Como: A Biography and Complete Career Record by Malcolm Macfarlane, Ken Crossland.

-Mickey Rooney and Judy Garland’s last on-screen performance.

-Perry Como had two songs deleted from the film: “You’re Nearer” and “Lover,” according to the Malcolm Macfarlane and Ken Crossland book.

-Tom Drake is dubbed by Bill Lee

-Cyd Charisse is dubbed by Eileen Wilson

Highlights:
-The all-star cast
-Judy Garland and Mickey Rooney’s performance of “I Wish I Was in Love Again”

Notable Songs:
-“Manhattan” performed by Mickey Rooney
-“Mountain Greenery” performed by Perry Como
-“Where’s That Rainbow?” performed by Ann Sothern
-“On Your Toes” performed by Cyd Charissed (dubbed by Eileen Wilson) and Dee Turnell
-“Thou Swell” performed by June Allyson
-“Lady is a Tramp” performed by Lena Horne
-“I Wish I Were in Love Again” performed by Judy Garland and Mickey Rooney
-“Slaughter on Tenth Avenue” danced by Gene Kelly and Vera-Ellen

My review:
“Nice music, poor plot.”

This was the general consensus among the film critics after “Words and Music” had its New York City premiere on Dec. 8, 1948. And 68 years later, these critics still aren’t wrong.

This movie is in gorgeous Technicolor, has a fantastic cast of nearly all of MGM’s major musical stars, and beautiful songs with breathtaking dances. But somehow it falls short due to the story.

“Words and Music” is a musical film where the plot weaves in and out of a patchwork of musical numbers. While this format is bizarre and a little difficult to follow, it wasn’t uncommon during this time for a musical picture to mainly be a revue of song and dance with a tiny bit of plot sprinkled in. MGM did the same thing (but a little better) in 1946 with the musical “Till the Clouds Roll By”—A film about Jerome Kern. Warner Brothers had a comparable format with their 1943 film “This is the Army,” where the story halts for 45 minutes of a musical show.

But the musical numbers aren’t the problem, in fact they are the high spots of the film. We have the opportunity to see Ann Sothern in the gorgeous Technicolor number “Where’s My Rainbow?,” June Allyson adorably in the “Connecticut Yankee” number “Thou Swell,” and Lena Horne give the best rendition that ever existed of “The Lady is a Tramp.”

Mickey Rooney as Lorenz Hart and Tom Drake as Richard Rodgers

Mickey Rooney as Lorenz Hart and Tom Drake as Richard Rodgers

The issue is the terrible and inaccurate biographical plot line. I like Tom Drake, but he’s not a very strong leading man while playing songwriter Richard Rodger. And Mickey Rooney is over the top and fairly ridiculous as the ill-fated Lorenz Hart.

Hart had a troubled life that involved alcoholism. He also was tormented by the fact that he was only five feet tall and was a homosexual in a time where this was not embraced by society, according to the book A Ship Without A Sail: The Life of Lorenz Hart by Gary Marmorstein.

Ann Sothern gorgeous in Technicolor in the number "Where's My Rainbow" (1

Ann Sothern gorgeous in Technicolor in the number “Where’s My Rainbow” (Comet Over Hollywood screenshot)

Unsurprisingly though, none of this is detailed in the film. “Words and Music” depicts Hart as what New York Times writer Wilfrid Sheed quipped: “a lovelorn dwarf.” In the film, Hart’s character is turned down by a fictional love interest played by Betty Garrett in the 1920s and hasn’t gotten over it 20 years later.

There is even an odd but comical scenes where Mickey Rooney buys elevated shoes to be taller to impress the girl.

Aside from Hart’s personal life, the timeline of this film is confusing. For starters, Hart holds a huge party when he first moves to Hollywood and performs a song with guest Judy Garland.  It’s an energetic and standout scene in the film—until you stop and realize that in real life this didn’t happen. Hart moved to Hollywood in the early 1930s when Garland was still a little girl.

On a bittersweet note—Rooney and Garland’s performance of “I Wish I Were in Love Again” is also memorable because it was their last on-screen performance after starring together in 10 films through the late-1930s and early-1940s.

June Allyson in the number "Thou Swell" with twins Ramon Blackburn and Royce Blackburn

June Allyson in the number “Thou Swell” with twins Ramon Blackburn and Royce Blackburn (Comet Over Hollywood screenshot)

The musical numbers in the film also aren’t in chronological order of the years they opened on Broadway, making the story a little more confusing and “patchwork” like. For example, the film starts with the 1926 play “Peggy Ann,” then goes to the 1936 play “On Your Toes” and then back to a 1926 musical, “The Girl Friend.” While an average 1948 moviegoer may not notice this, it’s a little confusing if you are doing research or know when these musicals were on the stage.

Lastly, audiences have the opportunity to see Perry Como, aka Mr. Cool, in his first and only Metro-Goldwyn-Mayer film. Como plays a fictional pal to Rodgers and Hart at the beginning of the film. However, at the end of the movie during a tribute to Lorenz Hart, Gene Kelly introduces Perry Como as…Perry Como. Someone didn’t think that out well.

While inaccuracies in musical biopics are nothing new, it’s simply that those in “Words and Music” are awfully clumsy. Despite that, “Words and Music” is an excellent showcase of MGM’s talented singers and dancers: from Cyd Charisse, Lena Horne, June Allyson, Gene Kelly, Mel Torme, Vera-Ellen and of course, Judy Garland.

Even grumpy New York Times film critic Bosley Crowther said in his Dec. 10, 1948 review: To be sure, there is much that is appealing—especially to us reminiscent folks—about certain of the musical numbers that sit like islands in the swamp of the plot. It is pleasant to hear Betty Garrett, for a starter, sing “There’s a Small Hotel” or to watch little crinkle-faced June Allyson head a big production rendering of “Thou Swell.” There is melody and magnificence in a richly-staged dance spectacle which packages two or three numbers, notably “The Girl Friend” and “This Can’t Be Love.” And it is nice to watch Perry Como and Cyd Charisse do “Blue Room” in pastels.

If you give this one a chance, I suggest drinking in the Technicolor costumes, catchy songs and mesmerizing dance steps and ignore the plot.

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Musical Monday: For Me and My Gal (1942)

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
For Me and My Gal” –Musical #10

Poster - For Me and My Gal_03

Studio:
Metro-Goldwyn-Mayer

Director:
Busby Berkeley

Starring:
Judy Garland, Gene Kelly, George Murphy, Ben Blue, Richard Quine, Mártha Eggerth, Keenan Wynn (uncredited)

Plot:
Set in 1916 right before the United States entered World War I, the film follows vaudeville team Jo Hayden (Garland) and Jimmy Metcalf (Murphy). While traveling, Jo and Jimmy meet self-centered Harry Palmer (Kelly), who is looking for any way to reach the top. Jo falls for Harry and leaves Jimmy to start an act with Harry. Right before Jo and Harry are going to hit the big time, Harry is drafted into World War I. Harry takes extreme measures to stay out of the military and risks his relationship with Jo at the same time.

Judy Garland and George Murphy in the

Judy Garland and George Murphy in the “Oh, You Beautiful Doll” number in “For Me and My Gal.”

Trivia:
-Gene Kelly’s first film.
-The first time Judy Garland’s name was listed above the title, according to Judy: A Legendary Film Career by John Fricke
-“For Me and My Gal” is loosely based on Kelly’s character, the vaudeville performer Harry Palmer, who did become form a team and become engaged to performer Jo Hayden.
-The title was originally “The Big Time” and then “Applause” with hopes a title song would be written by Arthur Freed, according to DVD commentary by Judy Garland historian John Fricke.
-The script was written with Judy Garland in mind and George Murphy originally was going to have Gene Kelly’s role. When Murphy lost the role, he said it was one of the greatest disappointments of his life, according to Fricke.
-Eleanor Powell and Dan Dailey were originally slated in the cast. There were going to be two female roles (a dancer and a singer), but it was combined into Judy’s role, according to Fricke.

Notable Songs:
-“For Me and My Gal” performed by Judy Garland and Gene Kelly
-“Oh, You Beautiful Doll” performed by George Murphy
-“After You’re Gone” performed by Judy Garland
-“Ballin’ the Jack” performed by Judy Garland and Gene Kelly

My Review:
“For Me and My Gal” is a fun film with a plot that revolves around the art form of vaudeville, which was popular in nostalgia movie musicals in the 1930s and 1940s. The introduction to the film says it is “fondly dedicated” to the vaudeville performers who traveled from town to town and lived out of trunks.

Set in 1916, this musical was released in October 1942, right after the United States entered World War II. Production planning started for this film in 1940.

“For Me and My Gal” has catchy songs, great costuming and a compelling story line. But for me, the film is more interesting for two major reasons: This is the first truly adult role for Judy Garland.

Audiences were able to see Garland as a sophisticated young woman with an adult romantic lead and complex dance numbers. She wasn’t playing second fiddle to Rooney’s antics, which sometimes happened in her previous films, and her singing and dancing talents are further showcased.

Gene Kelly, Judy Garland and George Murphy in a publicity still for

Gene Kelly, Judy Garland and George Murphy in a publicity still for “For Me and My Gal.”

Before this film, Garland was primarily in child or teenager roles. Garland’s role in “Little Nelly Kelly” before “For Me and My Gal” also gave her the opportunity to play an adult role. However, it was a dual role- she was an adult who marries George Murphy and then Murphy’s child. It wasn’t quite the same as the woman she plays in “For Me and My Gal,” and part of the film kept her a child.

The second notable fact about this film is that it’s Gene Kelly’s first film role. Fresh from Broadway playing “Pal Joey,” studio heads were uncertain how Kelly would photograph, but Garland fought for him to be in the film.

A fact new to me is that “For Me and My Gal” is loosely based on Kelly’s character, the vaudeville performer Harry Palmer, who did become form a team and become engaged to performer Jo Hayden. The film closely follows Palmer and Hayden’s relationship with some changes. In real life, Hayden had a friend named Danny Metcalf who was killed in action. In the film, Danny Metcalf was split into two people- Jo’s brother Danny who is killed and her friend Jimmy Metcalf, played by George Murphy. Hayden and Palmer married in 1919 and Palmer died in 1962.

“For Me and My Gal” is an entertaining MGM musical that allows you to watch two Garland grow and Kelly start an impressive career. My only complaint is there isn’t enough George Murphy. Otherwise, it’s a ton of fun.

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

The All-American Aphrodite: Remembering Esther Williams

My cinema relationship with Esther Williams helped shape my film interests.

I didn’t full watch any of her films until 2003 when my film appetite craved musicals.

A swimming scene from "This Time for Keeps"

A swimming scene from “This Time for Keeps”

As I gorged on her candy-colored, aqua musical extravaganzas, I couldn’t wait until I could see another film. Each of her musicals brings back memories of spending weekends endlessly watching her movies.

When I was 15 I read her autobiography, “The Million Dollar Mermaid.” It’s my favorite film autobiography that I’ve read so far.

When I was 17, I bought one of her Esther Williams bathing suits.

Williams inspired me to practice swimming strokes and try to learn how to swim (I failed swimming lessons when I was five years old. How embarrassing).

I remember in 2004 when she was highlighted during TCM’s August Summer under the Stars series. I wasn’t looking forward to going back to school in August but my excitement of Esther Williams’ day out-weighed my dread.

Esther Williams and frequent co-star Van Johnson in "Easy to Wed"

Esther Williams and frequent co-star Van Johnson in “Easy to Wed” dressed for the number “Bonecu de Pixe.” Carmen Miranda helped them with the Portuguese lyrics.

But it’s not just how she affected my every day actions, but my film knowledge that makes her important to me.

To date, I have seen all but two of Esther Williams’ films: “A Raw Wind in Eden” and “The Big Show.”

Esther Williams’s films are a textbook example of the mid-1940s to early 1950s MGM musicals: brightly colored, beautiful clothing and lavish musical numbers that may include Williams swimming, Xavier Cugat and his band shaking maracas or opera singer Lauritz Melchior belting a tune.

Her films also introduced me to my biggest film crush- Van Johnson.

Something I have always found appealing about Williams is that she is very attainable.

Her beauty is natural and girl-next-door like and her figure is athletic, rather than actress anorexic. In her 1996 Private Screenings Interview with Robert Osborne, she said becoming a star was all an accident.

Her stardom was a “consolation prize” when all she had wanted was an Olympic gold medal for swimming.

Williams qualified for the 1940 Olympics, which were canceled when Poland was invaded by Hitler. She felt her career as a swimmer was over when the Olympics were canceled and she didn’t receive a swimming scholarship to the University of Southern California, she wrote in her autobiography.

The road to stardom

With Mickey Rooney in "Andy Hardy's Double Life"

With Mickey Rooney in “Andy Hardy’s Double Life”

She took a job at I. Magnum department store until producer Billy Rose called her at the store asking if she wanted to audition for the Aquacade- a show of music, dancing and swimming in San Francisco.

“You swim very fast,” Billy Rose said when she auditioned.

“That’s what I do, Mr. Rose,” Williams said. “I’m a sprint swimmer. The U.S. 100-meter freestyle champion.”

“I don’t want fast,” he said. “I want pretty.”

Williams swam with Johnny Weissmuller, Olympic swimmer turned actor, and had to escape from him after every performance, because he would try to get her out of her swim suit. The Aquacade was not a happy experience. Because of that she repeatedly told MGM that she wasn’t interested in a film career, she said in her autobiography.

“If my experience at the Aquacade with the dingy dressing room and the grabby hands was any indication, they could keep their stardom,” she wrote.  “I had a husband, a career at I. Magnin to look forward to, a whole new life. That would be enough for me.”

Williams was doubtful of the success of swimming musicals. She told producer Jack Cummings that they would make one swimming musical and never make another.

Hollywood’s mermaid

In 1947 in Biscayne Key, south of Miami, Fla., while on location.

In 1947 in Biscayne Key, south of Miami, Fla., while on location.

MGM was looking for an American Aphrodite-a tall, wholesome American girl and that was Williams.

Once Williams signed with MGM in 1940, she was molded from an athlete into a starlet- taken to speech coaches, movement coaches, acting coaches and singing coaches. She wrote she had a nagging suspicion she didn’t belong at MGM.

Something that cemented this was how Williams and acting coach Lillian Burns butt heads.

At five-foot-eight-inches, Williams wasn’t your average petite actress.

“Even though Lana Turner, Donna Reed, Debbie Reynolds and Janet Leigh swore by her, Lillian Burns and I were a mismatch,” Williams wrote. “I knew instinctively that a five-foot-eight-inch girl could not behave like a feisty, indignant little poodle with quick, jerky movements.”

Clark Gable was the first to call Williams a mermaid.

Lana Turner married Artie Shaw without consulting Louis B. Mayer and as punishment, Williams was told to make a screen test with Gable for the film “Somewhere I’ll Find You.”

Gable brought his wife Carole Lombard to the screen test and unexpectedly kissed a very nervous Williams three times-catching her off guard and ruining the screen test.

IMG_20130607_174538_044

As they left he said to Lombard, “Well, baby, I told you I was gonna kiss me a mermaid today.”

After the screen test, Williams went on to film “The Double Life of Andy Hardy” (1942) and caught everyone’s attention as she languidly swam through the water.

Then Williams swam her way to stardom with Technicolor swimming musicals such as “Bathing Beauty,” “Thrill of a Romance” and “Easy to Wed.”

Swimming musicals presented challenges for makeup and wardrobe departments. A thick cream based makeup was “slathered” on to Williams head to foot. Hairdressers used a mixture of warm baby oil and Vaseline to keep her hair in place.

“I always thought there was a little too much glee on their faces when I arrived for my morning sessions,” she wrote. “They smeared this gooey mess that looked suitable for lubricating cars into my hair and made tiny braids all over my head…By the time I made it out of hair and makeup, I was as waterproof as a mallard.”

From all the swimming scenes, Williams once broke her back and busted her ear drums countless times. She was also pregnant in two of her films: Pagan Love Song and Easy to Love.

The end of stardom

But after over 10 years of success, MGM started to change as new MGM production head Dore Schary began to “kill off what was left of MGM glamour.”

Lana Turner and Esther Williams were named has-beens by Time magazine in 1955 and Clark Gable, Van Johnson and Greer Garson were leaving MGM.

The last straw for Williams was when she was called to play the Norma Shearer role in a remake of “The Women” called “The Opposite Sex.”

“There was nothing wrong with the group of actresses chosen, but they were certainly second string compared to the originals,” she wrote. “The studio was also going to add men to the plot, an unfortunate decision since the most intriguing thing about The Women was that it was a magnificent film without men.”

Williams refused to do the picture and realized Schary was feeding her lousy scripts to force her to leave MGM.

Williams redid her dressing room to suit a star like Grace Kelly who was up-and-coming at MGM, packed her bathing suits and wax gardenias she wore in her hair in films and drove out of MGM one night without saying goodbye to anyone but the man at the gate.

Much loved star

Williams looks over a Cole of California bathing suit. She allowed the company to use her name for a bathing suit line in 1951. (LIFE/Edward Clark)

Williams looks over a Cole of California bathing suit. She allowed the company to use her name for a bathing suit line in 1951. (LIFE/Edward Clark)

But even after her career ended, Williams wasn’t a has-been star. She was a successful business woman, with her line of Esther Williams bathing suits, and helped bring synchronized swimming to the summer Olympics.

My favorite Esther Williams films are “Duchess of Idaho,” “Thrill of Romance” and “Easy to Wed”- a remake of “Libeled Lady,” this is one remake I enjoy.

Williams always makes me happy. Her smile is genuine and watching her swim through the water can soothe a worried soul.

“My life as a child, woman, lover, wife and mother-has been more than public events. Some of it has been lived on the heights of personal happiness and passion. Some of it has been filled with terrible conflict and anguish,” Williams wrote. “Yet somehow I kept my head above the water. I relied on the discipline, character and strength that I had started to develop as a little girl in her first swimming pool in southwest Los Angeles. With sufficient endurance and courage, we all can achieve some kind of victory of our lives.”

Rest in peace, Esther Williams. Thank you for bringing my family and your fans so much happiness.

Esther Williams in Swimming Pool

Check out the Comet Over Hollywood Facebook page for the latest updates or follow on Twitter at @HollywoodComet.

You Stepped Out of a Dream: Fashions of Lana Turner

Nightclubs would play “You Stepped Out of a Dream” as she entered.

Men adored her, including actor William Powell, and showered her with gifts.

Though Lana rarely wore low cut dresses, this fuchsia gown was a favorite.

Though Lana rarely wore low cut dresses, this fuchsia gown was a favorite.

Lana Turner’s glamor, beauty and style made her one of the top film stars from the 1940s through the early 1960s.

Her fashionable presence and perfection of her appearance has left a lasting impression on classic Hollywood fans.

Before Comet has looked at Turner’s beauty regimens such as moisturizing with Nivea or exfoliating with Boraxo soap once a week.

Today we are looking at how Miss Turner dressed.

“She had a presence, style and beauty,” said her daughter Cheryl Crane in her book LANA: The Memories, the Myths, the Movies. “But she was approachable, rather than  film goddesses like Greta Garbo.” (56)

Her clothes and jewelry were her star persona that she used as a shield and felt vulnerable without them, Crane said.

“Her appearance, whether for screen, at home or in public, was always ‘camera ready,’” Crane wrote. “Make up on, hair done-no matter the time or place.” (82)

“I would rather lose a good earring than be caught without make up,” Turner said.

Turner togs:

Crane describes her mother’s lifestyle and interests in the book in detail-including her clothing.

Turner’s closet in her 1950s home was the length of half of their home complete with a platform for fittings, climate controlled closets for furs, jewelry vaults and revolving closets.

When it came to evening dresses, Turner liked form fitting gowns but rarely wore low cut dresses. She preferred wearing all white or all black for a dramatic look that complimented her skin tone and hair. (95) She also liked clean, bright colors such as yellow.

All white and black ensembles were looked dramatic with her coloring

All white and black ensembles were looked dramatic with her coloring

Lana also liked clean, bright colors such as yellow. Here she is in 1942. (182)

Lana also liked clean, bright colors such as yellow. Here she is in 1942. (182)

For professional performances Lana never wore clothing off the rack so that she wouldn’t be copied by department stores. Her casual clothing was tailored as well.

Her favorite designers were Jean Louis and Nolan Miller, later in life.

“More than often she would look at the latest issue of Harper’s Bizarre or Vogue and then put her dressmaker to work on a vision of the styles she liked,” Crane wrote. “Mother’s perfectionism caused trouble during fittings. It was not unheard of for a dressmaker to walk out because she was so detail oriented.” (96)

Lana locks:

When Lana started in Hollywood, her hair was a reddish brown. It was eventually died blond, which it stayed for most of her career. In other films like “Green Dolphin Street” (1947) and “Betrayed” (1954) her hair was brown.

Various Lana Turner hairstyles in the 1940s and 1950s

Various Lana Turner hairstyles in the 1940s and 1950s

Turner’s hairdresser, Helen Young, experimented with up-dos and wove jewels and flowers into her hair, Crane wrote (88).

“It (her hair) was long one moment, short the next,” Crane wrote. “Mother was constantly changing her hair. It was very easy to style.”

Along with jewels, Lana often adorned her head with hats- from flowered pieces to feathers, veils and Spanish influenced mantillas.

“Mom had a face that allowed her to wear any hat,” Crane wrote. (100)

hats

Lana Turner in various hat styles in the 1930s and 1940s.

Finishing touches:

“No dress, however startling, can stand alone,” Lana said.

She coordinated jewelry with outfits and preferred colored jewels to diamonds. (104)

“Even when wearing sweats she had jewelry,” Crane wrote.

Her shoes were by Ferragamo that were designed to match gowns. (96)

When Lana liked a style of shoes, she bought it in ever color. At one point she had 698 shoes. (99)

Fashion copycats and admirers:

On the nightclub scene in a white evening gown in the 1940s.

On the nightclub scene in a white evening gown in the 1940s.

It wasn’t just men who admired Lana.

Though Ginger Rogers wrote in her autobiography that Eva Peron copied her style in the 1930s, Cheryl Crane wrote that Peron was fascinated with Lana.

“Eva Peron copied fashions and a number of unique hairstyles for which mother was known for,” Crane said. (177)

The fascination made it awkward for Turner when she visited Argentina in 1946.

“Customs seized all of her jewelry and held her up for hours,” she wrote. “She learned that every piece was photographed to be copied later.”

Another notable person fascinated with Lana was artist Salvador Dali-but he was only obsessed with the corners of her eyes, which he wanted to paint. (177)

A legend

Though Lana Turner is one of the most beautiful women in the classic age of Hollywood, she didn’t think so.

“It’s interesting that mother never thought of herself as beautiful,” Crane wrote. “To her, the great beauties were brunettes.”

Regardless of Turner’s personal opinion of herself, her fashion and beauty made her a one of Hollywood’s ethereal and beautiful stars.

Source:

“Lana: The Memories, the Myths, the Movies” by Cheryl Crane

This is part of Fashion in Film blogathon by Hollywood Revue Blog.

Fashion in Film blogathon hosted by our friends at Hollywood Revue Blog

Fashion in Film blogathon hosted by our friends at Hollywood Revue Blog

Check out the Comet Over Hollywood Facebook page