Archive for Gene Tierney

Grauman’s Chinese Theater of Cruelty

Posted in FILM with tags , , , , , , , , , on August 1, 2014 by dcairns

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Sid Grauman immortalizes the already-immortal Gene Tierney.

Like Gary Oldman, I’ve been reading Neal Gabler’s excellent An Empire of Their Own: How the Jews Invented Hollywood, though possibly I have been drawing different conclusions from it. Attentive readers may recall me picking the tome up in one of Toronto’s many excellent bookstores. Being shallow, I am partly in it for the history but also for the funny stories. This one also contains a whiff of the horrific, so beware ~

Gabler’s study of Louis B Mayer also features quick portraits of the major exhibitors, including a vivid, even (necessarily) lurid description of Sid Grauman (he of the Chinese Theater) ~

“Like Roxy, Grauman loved size; his theaters were always capacious. But he was less a culture monger than a showman; where Roxy wore conservative suits to maintain an image of dignity, Grauman wore large hats rakishly tilted and parted his long curly hair down the middle, sweeping it back at the sides so that he looked as if he had stuck his finger in an electric socket. Throughout Hollywood he was famous for his elaborate pranks: convincing Paramount cowboy star William S. Hart to “ambush” a train Adolph Zukor was riding; inducing Jesse Lasky to give a speech to a group of exhibitors who turned out to be wax dummies; arriving at the cornerstone-laying ceremony of a rival theater in a hearse; dressing as a female escort to visiting star David Warfield and then crying, “Rape!” When he heard that director Ernst Lubitsch, who hated to fly, was forced to take a plane from Los Angeles to a preview in San Francisco, he hired two stuntmen to dress as pilots, run down the aisle, and then parachute during the flight. Lubitsch was so shaken that he suffered a minor heart attack.”

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Here is a picture of Lubitsch, much later, receiving a lifetime achievement Oscar. You’ll notice he doesn’t look that happy about it — the smile is sickly. That’s because he’s having an attack of angina at the same time. The two experiences don’t mix well. Lubitsch’s too-early death was no doubt greatly exacerbated by his cigar habit, and it was a post-coital attack that finally did him in, but I cannot think that Sid Grauman’s sense of humour helped. At least Lubitsch enjoyed his other causes of death.

Thanks a lot, Sid.

I’ve just written two essays on Lubitsch films, which can be pre-ordered as part of THIS –

MADAME DUBARRY [Masters of Cinema] (1919) [Blu-ray]

Happy Birthday, Gene

Posted in FILM with tags , , on November 20, 2008 by dcairns

Nothing to do with Borzage — he wasn’t making films much for most of her career — but it’s Gene Tierney’s birthday for a few hours yet, and I stumbled across these pictures of her in costume but not in character for THE SHANGHAI GESTURE, so here she is:

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And again here:

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Now that I’m off-topic, I’ll just mention that a friend is looking for suggestions for the title of a film he’s written, but for SECURITY REASONS I can’t tell you anything about the film. But if you think you can improve on HIS BUTLER’S SISTER, we want to hear from you!

Pin-Up of the Day: Gene Tierney

Posted in FILM with tags , , , , , , , , , , on October 16, 2008 by dcairns

“Without any question the most beautiful woman in the history of the silver screen,” said Darryl Zanuck, or words to that effect, and he ought to know, having slept with most of them. (He HAD to sleep with several at a time, honestly, otherwise he could never have racked up such a total. It’s not troilism, it’s just efficiency.)

Gene Tierney moved from early incompetence as an actor, through decent performances, and into really good work, aided by a truly amazing face that made her a pleasure to watch even when she sucked. Those distinctive features could suggest madness and evil in LEAVE HER TO HEAVEN, innocence and decency in HEAVEN CAN WAIT, wisdom and goodness in THE GHOST AND MRS MUIR.

I now list the features, and excuse me if I get overcome and have to go lie down:

The eyes: large, long, and very wide apart. I have a vision of walking up to Gene and putting my hand over the centre of her face, and of her looking back at me from around either side of my palm. THOSE EYES IS WIDE APART.

The big pale moonlike forehead. I am a man who likes a forehead. (Paulette Goddard, what a forehead that is! An eighthead, in fact.)

The nose, apparently hand-shaped from some soft, wonderful material — butter, perhaps — by tiny master craftsmen.

The cheekbones, beautifully defined, as if constructed especially to receive Von Sternberg’s light.

The mouth, completely redesigned by ambitious lipstick in these images, but in reality a wide, full and elaborately flared labial sculpture, balancing the eyes, and containing slightly erratic teeth which add charm to what could otherwise be chilly perfection.

In THE SHANGHAI GESTURE Tierney has moments of strange, erratic, embarrassing emoting that rival Elizabeth Berkeley’s mad flailing in SHOWGIRLS, but who’s to say what’s appropriate in a Sternberg menagerie such as this? Her perfect nose tilting under the lights, which seem to be dissolving into a dew the all-butter mannequin that is Victor Mature, she shows no trace of the control and grace that focus her best performances, but she certainly throws herself into the spirit of the thing. A gutsy, dynamic, original and deeply dreadful performance that’s never less than eye-catching. More decorous work was to come, but with the high frontal key-light shading her cheekbones, and the very hot backlight on the top of her head, Tierney showed she could be lit like Dietrich and come out just as well.

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