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Forgotten Faces of Hollywood's Golden Era

ClassyCo

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Joan Blondell had a show business career that spanned more than five decades.

Born in Manhattan in 1906, to vaudeville performers that toured frequently. She attended Santa Monica High School, where she acted in schoolhouse plays and edited the school's yearbook. She starting participating in pageants in the early 1920s: she was a finalist for a early version of the Miss Universe pageant in 1926 and placed fourth in the Miss America pageant that same year in Atlantic City. Around 1927, she found her way back to New York, where she worked as a model, circus hand, clerk, joined a stock company to become an actress, and worked in minor jobs on Broadway. In 1930, she starred with James Cagney in PENNY ARCADE on Broadway. The show was unsuccessful, and actor Al Jolson bought the rights to the play for $20,000. He sold the rights to Warner Brothers, where a film version called SINNERS' HOLIDAY (1930), was made with Blondell and Cagney reprising their roles. Studio chief Jack L. Warner wanted to rebrand Blondell "Inez Holmes", but she refused. She had become professionally as Joan Blondell sometime before.

In 1931, Blondell was named one of the WAMPAS Baby Stars. She ultimately paired with James Cagney in multiple other films, such as THE PUBLIC ENEMY (1931), which also co-starred Jean Harlow, and FOOTLIGHT PARADE (1933). She paired up with actress Glenda Farrell as a "gold-digging duo" in nine films. Blondell eventually became one of the highest-paid film stars in the United States during the Great Depression. Blondell was also one of the primary movie stars the Production Code tried to clean-up once it gained substantial power in 1934. A lot of her films were subject to strong and extensive censorship before they were approved to be screened for audiences. Her rendition of the song "Remember My Forgotten Man" from the Busby Berkeley movie GOLD DIGGERS OF 1933 became a popular standard for millions of unemployed Americans. She later starred with Errol Flynn in THE PERFECT SPECIMEN (1937). By the time she left Warner Brothers in 1939, she had made nearly 50 films.

Blondell returned to Broadway in 1943 to star in Mike Todd's production of THE NAKED GENIUS, which had been penned by Gypsy Rose Lee. Blondell was exceptionally well-received in her later films, although she was relegated to supporting roles and character parts after 1945. She was billed below the title for the first time in 14 years when she co-starred in ADVENTURE (1945), a notorious dud starring Clark Gable and Greer Garson. Better-received was her performance as Aunt Sissy (a role Alice Faye wanted) in A TREE GROWS IN BROOKLYN (1945), under the direction of Elia Kazan, and the Tyrone Power film noir NIGHTMARE ALLEY (1947). In 1948, Blondell decided to leave the screen and refocus her attention towards theatre. She performed in the summer stock and the roadshow version of Cole Porter's musical SOMETHING FOR THE BOYS, and even toured in a musical adaptation of A TREE GROWS IN BROOKLYN, reprising her role as Aunt Sissy. She also played Mae Peterson, a nagging mother, in BYE BYE BIRDIE.

Blondell returned to Hollywood in 1950. Her performance in the film THE BLUE VEIL (1951) earned her an Oscar nomination for Best Supporting Actress. She appeared in the musical remake of THE WOMEN called THE OPPOSITE SEX (1956), co-starring the likes of June Allyson, Joan Collins, Dolores Gray, and many others, and in the comedy DESK SET (1957), starring off-screen lovers Spencer Tracy and Katharine Hepburn. One of her most famous later roles came in WILL SUCCESS SPOIL ROCK HUNTER? (1957), a satire of New York's advertisement agencies, starring Jayne Mansfield and Tony Randall. She received critical acclaim for her performance as Lady Fingers in THE CINCINNATI KID (1965), and co-starred with Elvis Presley in the Western comedy STAY AWAY, JOE (1968). She was widely seen in two films just prior to her death: GREASE (1978), starring John Travolta and Olivia Newton-John and THE CHAMP (1979), starring Jon Voight Rick Schroder.

Blondell was a frequenter of television guest spots throughout her career. She guested on a TWILIGHT ZONE episode called "What's in the Box?" in 1964, and played Florabelle Campbell on PETTICOAT JUNCTION in 1965, replacing an ill Bea Benaderet for one episode. She was a regular on the ABC Western dramedy HERE COME THE BRIDES from 1968 to 1970.

Blondell died of leukemia on Christmas Day, 1979. She was 73 years old.

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ClassyCo

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A lot of actresses have been publicized over the years as being a successor to Greta Garbo. Luise Rainier and Hedy Lamarr were probably the most successful, while Signe Hasso typically slides right through the cracks.

Signe Hasso first came to my attention when I saw an interview she gave for the made-for-TV documentary called HOLLYWOOD RIVALS, which profiled the relationship and alleged rivalry between Garbo and Marlene Dietrich. In the interview, she spoke of how director George Cukor spoke highly of Garbo as one of the finest actresses ever to grace the screen. Intrigued because I had never heard of Hasso before, I decided to do some digging.

Just like Garbo, she was born in Stockholm, Sweden, but in 1915, ten years after Garbo. Her father and grandfather passed away when she was just four, leaving Hasso, her mother, grandmother, and siblings to share a one-room living space. Her mother, a former aspiring actress herself, worked to support the family as a waffle cook.

Her acting career reportedly began by accident. When a young actress fell ill, Hasso’s mother was asked if she knew of anyone to replace her. Hasso later recalled that her mother petitioned the opportunity to both her and her sister. Their mother flipped a coin to see who she would suggest, and it was Hasso who won. She performed in Royal Dramatic Theatre productions beginning in 1927 when she was 12, and enrolled as the youngest acting student in its history when she was 16.

Hasso performed on the stage and the screen while in Sweden. Her professional surname was derived from her marriage to director Harry Hasso, who she met and married in 1933. They would have one son together and ultimately divorced in 1941. The following year, she was noticed by American filmmaker Howard Hughes, who eventually persuaded her to come to the U.S. and sign a long-term option with his RKO Pictures. It was the RKO publicity department that touted her "the next Garbo" in the press.

With her American movie career off to a slow start, she turned towards the stage to earn a living. According to the Internet Broadway Database, she appeared in five Broadway productions, beginning with GOLDEN WINGS (1941). Frustrated with RKO and their lack of career development, she moved to Metro-Goldwyn-Mayer (Garbo's old home studio) in the mid-1940s. Her first notable American screen role was in HEAVEN CAN WAIT (1943), starring Don Ameche and Gene Tierney. Some of her other noteworthy films of the era included the drama THE SEVENTH CROSS (1944), co-starring Spencer Tracy, and the film noirs JOHNNY ANGEL (1945) with George Raft and THE HOUSE ON 92nd STREET (1945) with William Eythe. Hasso later proclaimed her role in A DOUBLE LIFE (1947) with Ronald Colman to be her personal favorite.

By the 1950s, however, her acting career had stalled. She spent the majority of her time acting on television, making few films, and working for Eva Le Galliene's American Repertory Company. During this time, she also befriended comedian Bob Hope, and was a frequent guest on his television shows and specials. Her only child was killed in a motorcycle accident in Santa Monica in 1957. She also appeared on such shows as BONANZA, THE OUTER LIMITS, STARSKY & HUTCH, and HART TO HART. She had a supporting role in the Grande Dame Guignol-style thriller PICTURE MOMMY DEAD (1966), and later appeared in the Oscar-nominated film I NEVER PROMISED YOU A ROSE GARDEN (1977).

She continued acting on stage and the screen in both America and Sweden until she retired in the late-1990s. She also translated Swedish folk songs into English, releasing them as semi-autobiographical albums. She passed away in 2002, aged 86, from cancer.

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darkshadows38

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i don't think Joan Blondell is forgotten to today's younger generation to a certain degree yes but it depends on who it is really i'm sure a vast majority have seen Grease (1978) so they have seen at least one film with her in it. that's the first time i ever even heard of her was that film when i was younger
 

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The only thing I've seen Rainer in was her guest shot on THE LOVE BOAT. When, how and why I saw that, I'm not sure; it's not a TV series I watched often. Maybe I stumbled across it on Youtube. Honestly I thought she was rather bad, even considering the low expectations of Aaron Spelling's cheesiest TV product.

I watched the episode with Luise Rainer last night and although I watched/read the guest starring credits, I wasn't aware that it was the Luise Rainer, who as a German I always forget that she existed even though she is the only German actress ever won the Oscar (and that's even twice). Regarding The Love Boat: her storyline was still the best part of the episode and although I didn't recognize her, I found her to be quite pleasant in the interaction with her love interest Don Ameche.

I'm not the only German who has forgotten Luise Rainer. There is a kind of German Walk of Fame in Berlin called Boulevard of Stars. When it launched in 2010 Luise Rainer was not among the first twenty stars honored. Someone suddenly remembered Luise Rainer and there was a cultural outcry so that Luise Rainer received the 21st star of the Boulevard of Stars a year later. Nevertheless, when she died, she was already forgotten in Germany (again). At the time, her death was not even mentioned in the biggest evening news and neither of her two Oscar-winning films were repeated on TV.
 
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ClassyCo

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I watched the episode with Luise Rainer last night and although I watched/read the guest starring credits, I wasn't aware that it was the Luise Rainer, who as a German I always forget that she existed even though she is the only German actress ever won the Oscar (and that's even twice). Regarding The Love Boat: her storyline was still the best part of the episode and although I didn't recognize her, I found her to be quite pleasant in the interaction with her love interest Don Ameche.

I'm not the only German who has forgotten Luise Rainer. There is a kind of German Walk of Fame in Berlin called Boulevard of Stars. When it launched in 2010 Luise Rainer was not among the first twenty stars honored. Someone suddenly remembered Luise Rainer and there was a cultural outcry so that Luise Rainer received the 21st star of the Boulevard of Stars a year later. Nevertheless, when she died, she was already forgotten in Germany (again). At the time, her death was not even mentioned in the biggest evening news and neither of her two Oscar-winning films were repeated on TV.
Luise Rainer has gotten lost in the shuffle of old Hollywood celebrities. Her reign as a star last just three years, and her two back-to-back Oscar wins have often come under attack as being underserved.
 

ClassyCo

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Betty Grable -- "the girl with the million dollar legs", "the queen of the movie musical", "the quick silver blonde".

Grable was mega-popular in the '40s, before, during, and after WW2. She was a big moneymaker for Fox, starring in a host of frothy and colorful musical romances. Her 1943 (the year she was #1 in box office popularity polls) pin-up photo was the best-selling photograph during WW2. @Crimson here mentions how Grable had a unique persona of sexiness and vulnerability. She was the sex symbol, but the girl-next-door. Her corn blonde cuteness eventually lost its sizzle, and Marilyn Monroe took over the spot as Fox's biggest star in the '50s.

Grable was Fox's successor to Alice Faye, while June Haver was fashioned as a cheaper "glamour girl" alternative to Grable -- and, by extension, Faye. And then Monroe was considered the one that "took over from" Grable around 1953 when Grable started having some serious issues with Fox.

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darkshadows38

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yep what really made me laugh was i forget which one it was that she made with Dan Daily maybe Call me Mister (1951) where he sees her in a store and he knows her by her legs.
 

ClassyCo

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yep what really made me laugh was i forget which one it was that she made with Dan Daily maybe Call me Mister (1951) where he sees her in a store and he knows her by her legs.
Dan Dailey was one of her more frequent costars in the post-WW2 years.

They made four films together:

MOTHER WORE TIGHTS (1947) -- her biggest box office hit up till that point, which was not so long ago released by Twilight Time on Blu-ray. Grable often singled this movie out as a favorite of hers.

WHEN MY BABY SMILES AT ME (1948) -- released at the time Grable had crawled back to #2 in box office popularity.

MY BLUE HEAVEN (1950) -- Grable was again #2 at the box office, and this movie marks the screen debut of Mitzi Gaynor.

CALL ME MISTER (1951) -- a musical remake of the 1941 film A YANK IN THE R.A.F., starring Grable and Tyrone Power.

Per legend, Grable was to have Ethel Merman's role in THERE'S NO BUSINESS LIKE SHOW BUSINESS in 1954, which would've reunited her with Dailey for a fifth time. She walked, and thus Merman was cast.

Grable also declined THE GIRL NEXT DOOR (1953), which would've also co-starred Dailey. She wanted a vacation instead of the movie, which ended up being June Haver's final film before her retirement from the screen.
 
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darkshadows38

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i've seen the last 2 films but not the 1st two. what's funny is if IMDB is right she was his favorite co star yet during the making of their last film he was always drunk off his ass and really pissed of her off to the point she refused to work with him anymore. if he really loved working with he never would have acted that way.
i watched that film recently and that wasn't a bad film either
 
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ClassyCo

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Veronica Lake
I've thought about buying both I MARRIED A WITCH and SULLIVAN'S TRAVELS -- two of Lake's most fondly remembered comedies -- during the Criterion Collection sale, but I'm so weary.

I don't recollect seeing a lot, or any, of Lake's film work outside of a few clips, but what I have seen hasn't left me wishing to see more. Like Joan Fontaine, she just leaves me feeling cold and she has no significant on-screen charisma. It's well-known that she was quite difficult to work with, and that such hardships hindered the longevity of her career. Still, she has a handful of films that are well-regarded as classics.

I doubt I'll ever bite the bullet and take the dive into Lake's movies. My opinion is so low that I know I'd be disappointed.
 

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Marie Windsor
She was touted the "Queen of the B-movies" for many years, just like Fay Wray and Lucille Ball before her. I think a lot of Windsor's movies are free to view on YouTube, but I could be wrong.

Sylvia Sidney
I've seen nothing of Sidney's work outside of WKRP and BEETLEJUICE. She was labeled "box office poison" in 1949 after a few years of flops damaged her popularity.

June Allyson
Interviews she gave late in life have changed my opinion on Allyson. She seems to have been a pleasant and genuinely nice woman. While her movies may not have been top-tier, I am curious to see at least a few of them -- one day anyway.

Sonja Henie;
I wouldn't mind seeing Henie's SUN VALLEY SERENADE or WINTERTIME, two of her final films before retirement. Overall, though, I don't think she'd be terribly intriguing. Her reviews are pretty bad, and the general consensus is she was a bad actress -- which hasn't stopped me from liking other actresses.

Esther Williams
I think Williams is a beautiful woman and the majority of her movies are beautifully photographed. Like Betty Grable at Fox, Williams' fluffier musical romances paid the bills as MGM and allowed the studio to gush larger amounts of money into their more "prestigious" pictures. Williams eventually got fed up with the studio and walked in 1956.
 

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I don't recollect seeing a lot, or any, of Lake's film work outside of a few clips, but what I have seen hasn't left me wishing to see more.

Those who know her only by reputation -- or, perhaps, having been "portrayed" by Kim Basinger in L.A. CONFIDENTIAL -- may think Veronica was one of the bombshells of the '40s like Lana or Rita. But Lake was a petite lady whose screen persona was more winsome than sultry. I've enjoyed a few of her films including those two you mentioned and a couple with Alan Ladd, although I can't say I enjoyed them particularly because of her.

I've thought about buying both I MARRIED A WITCH and SULLIVAN'S TRAVELS -- two of Lake's most fondly remembered comedies -- during the Criterion Collection sale, but I'm so weary.

Is buying DVDs your main source of seeing classic films? You often seem hesitant to purchase specific films; understandably, since you may never watch them again. A lot of these movies you're better off catching on TCM or even Youtube.

I stopped buying DVDs a decade ago, but when I did I tended to only purchase those I was likely to rewatch.
 

ClassyCo

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Is buying DVDs your main source of seeing classic films?
I'm what could be generically classified as a "physical media collector" and therefore I like having actual DVDs or Blu-ray discs in my collection. I specifically like buying Criterion releases of movies I don't currently own.

However, I have been known to watch certain movies on YouTube when they're available. Most recently, I watched both QUEEN BEE (1955) and SUDDENLY, LAST SUMMER (1959) on YouTube. They were both two movies I wanted scratched off my watch list, but I didn't deem either of them important enough to actually buy. The YouTube transfers were actually pretty good, too, I must say.

You often seem hesitant to purchase specific films; understandably, since you may never watch them again.
I am frequently hesitant about buying certain movies. I don't want to waste money on something I don't like, which is why I pick a lot of minds here to help discern what I may or may not want to actually buy.

A lot of these movies you're better off catching on TCM or even Youtube.
The wife and I don't have cable in our house. We technically don't even have a TV. We watch a lot of movies via my laptop -- well, that's when we watch anything, which isn't terribly often.

I need to browse YouTube harder than I do for some movies. Oftentimes, I've been shocked at what movies I've stumbled upon online for free.

Does TCM have some sort of app or online streaming service?
 
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