How the glamour shot changed Hollywood (Part 2)

By Kendra + June 9, 2015

Back in April I had the pleasure of giving two talks on old Hollywood in San Francisco’s gorgeous and historic Presidio. The first, Vivien Leigh: Stardom and Screen Image, was at the Presidio Officers’ Club. The second, “How the glamour shot changed Hollywood,” was given at the Walt Disney Family Museum as a tie in for their current special exhibit, “Lights! Camera! Glamour! The photography of George Hurrell” (ends June 29, 2015).

As I mentioned in a previous post, my interest in researching and writing about Vivien Leigh has not waned, but I am also eager to expand my knowledge on different subjects. So I was really excited when the Programs Manager at the WDFM invited me to give a talk about the history of glamour photography. Although I’ve loved looking at Hollywood glamour photographs since I first became a fan of classic films, I was less familiar with the details of their importance and the lives of the artists behind the cameras. I chose to highlight three photographers that represented three different eras of the studio system: James Abbe (whose archive I’ve been digitizing and cataloguing since January), George Hurrell, and Laszlo Willinger. The research was a lot of fun and the presentation itself went down pretty well, so I hope you enjoy it too!

Read Part 1 here.

*****

How the glamour shot changed Hollywood (Part 2)

Written and presented by Kendra Bean
Walt Disney Family Museum, April 11, 2015

George Hurrell

Among all of the great Hollywood portrait photographers, George Hurrell is arguably the most famous and is considered by collectors and historians to be the best in the business. It was his photos that actually inspired the term “glamour photography.” In 1936, Esquire magazine claimed, “A Hurrell portrait is to the ordinary publicity still what a Rolls Royce is to a roller skate.”

Hurrell was born into a large Catholic family Cincinnati. Following two of his siblings, he initially enrolled in a seminary in Chicago after completing high school, with the intent of becoming a priest. But, he said, “As long as I can remember I wanted to be an artist. As a boy, I was drawing all the time, in school and out.” So he decided to study at the Art Institute in Chicago instead.

Although painting was his subject of choice, Hurrell also worked with a camera during this time, as it was common for art students to photograph inspirational locations as well as their finished work. While at school he held a series of jobs, including acting as a colorist for Chicago portrait photographer Eugene Hutchinson who taught him valuable tricks of the trade, including negative retouching, darkroom developing and airbrushing. Still, Hurrell’s interest in taking up portrait photography as a profession came on gradually. In 1925, he attended a lecture by landscape painter Edgar Alwyn Payne and showed the artist a portfolio of his student work. Payne was impressed and encouraged Hurrell to follow him out to Laguna Beach here in California where there was a thriving fine arts community.

Hurrell continued painting but soon realized that he could make more money taking photographs of local artists and the social scene in Orange County. His most prominent patron was the wealthy, and unconventional Florence Leontine Lowe Barnes, known to her friends as Pancho. Pancho Barnes thought Hurrell’s photos were better than his paintings, so when she decided to apply for a pilot’s license, she asked Hurrell to take her photograph. Oroville Wright of the famous Wright brothers processed all pilot’s applications at that time and discouraged female hopefuls from applying. If a woman crashed a plane as opposed to a male pilot, he believed it would bring negative publicity to the aviation industry. Pancho decided to dress as a man for her photograph. Her license was approved and she later became Hollywood’s first female stunt pilot.

Pancho Barnes ended up being Hurrell’s ticket to Hollywood. She was best friends with Mexican silent film star Ramon Novarro, whose Latin accent put him at risk of becoming obsolete as Hollywood made the transition from silent to sound in the late 1920s. Novarro was nervous about his prospects for continuing his career on screen and was afraid that if anyone in the business found out, his new contract negotiations with Metro-Goldwyn-Mayer would fall through. He needed new publicity portraits but didn’t trust anyone actually working in Hollywood not to gossip about his fears. So Pancho suggested Novarro go down to Laguna Beach and have Hurrell take a series of photos.

Novarro was short in stature and had a drinking problem owing to the personal conflict of being a gay Catholic as well as pressure from MGM to enter into a lavender marriage, but using a second-hand 8 by 10 camera and an 18 inch portrait lens, Hurrell succeeded in transforming Novarro into the Latin lover coveted by women across the country. In these early Hurrell photographs he looks like a Greek God or a handsome prince from a Victorian painting.

Novarro was so pleased with the outcome of the photos that he showed them to his good friend Norma Shearer, who was married to MGM’s wunderkind producer Irving Thalberg and looking to spice up her image in order to land the lead role in the 1930 film The Divorcee. Shearer wasn’t considered classically beautiful and in fact appeared to be a bit cross-eyed. But she was determined to prove herself otherwise, so she drove down to Laguna in her Rolls Royce and commissioned some portraits. With clever use of lighting and shadows, as well as a provocative hairstyle and clothes, Hurrell helped Shearer become sexy. She landed the role she was going for and Irving Thalberg offered Hurrell a contract with Hollywood’s biggest studio. He earned $150 per week as MGM’s first in-house portrait photographer.

Over the next three years, Hurrell worked on developing his signature style, which owed much to his painterly influences. Before going to Hollywood, Hurrell had improvised with household items such as standard light bulbs and frying pans for reflectors. Now in Hollywood he had professional equipment. He was a big fan of “Rembrandt lighting,” named after the Dutch painter Rembrandt van Rijn. This effect was achieved by the use of a sharp focus lens, an overhead key light or “boom” light and a spotlight angled to one side so that the sitter’s face was half cast in shadow and a triangle of light appeared beneath one eye.

Hurrell expert Mark Vieira described other facets of the photographer’s style in his recent photo retrospective George Hurrell’s Hollywood:

“His trademark effects included: Shooting a subject upside down on the floor so that her cascading dress seemed to fly up; an occasional “Dutch tilt” to throw vertical lines zanily out of plumb; using only one light, a spotlight, to shoot a subject against a white wall; elongated eyelash shadows; the placement of the boom light so that it shown down from behind, or down the part of the subject’s hair, or onto the cheekbones; a spotlight shining up from the floor; lead retouching to lighten the iris of an eye; a tiny dot of retouching ‘opaque’ to enlarge the specular highlight in each eye; using a spotlight instead of a soft light as the fill.”

The key to making a star “glamorous” was to portray them as remote and untouchable to the viewer, not more relatable. This was especially important during the Great Depression. The 1930s is often referred to as “The Golden Age of Hollywood,” when millions of Americans went to the movies on a weekly basis. Former POTUS Franklin Delano Roosevelt put it nicely when he said, “During the Depression, when the spirit of the people is lower than at any other time, it is a splendid thing that for just 15 cents an American can go to a movie and look at the smiling face of a baby and forget his troubles.” It’s not surprising then, that perhaps the most popular star of the decade was not Crawford, Dietrich or Garbo, but little Shirley Temple.

Hurrell was responsible for making the close-up an integral part of glamour photography. Max Factor’s heavy pancake make-up – was all the rage in the 30s and 40s – didn’t photograph well up close, so photographers requested they wear nothing except for a bit of lipstick and mascara. Studio retouchers were responsible for smoothing over wrinkles, pores and pimples, but a trusting atmosphere had to be established between the photographer and his sitter in order to get the best pictures. Each star had to be handled differently depending on his or her personality. Hurrell drew from a bag of tricks that included everything from music to headstands in order to make his sitters comfortable. He also controlled every aspect of the shoot from wardrobe to poses. Props were used to create interest in the photos, the most famous of which was a white bearskin rug that sitters requested so often, Hurrell eventually got sick of it.

Once everything was in place the actor’s face became a canvas on which to create alluring works of art.

The biggest and most difficult task of being a studio portrait photographer was placating the egos and insecurities of some of the big names that stepped in front of his camera.

I’ll let Hurrell talk a little about that in his own words:

In the summer of 1932, Hurrell argued with MGM publicity chief Howard Strickling over the fact that he was earning extra cash by photographing stars from rival studios on weekends. Strickling won out and Hurrell took his leave from MGM. He set up his own studio on Sunset Boulevard and opened the doors to anyone who would pay his $500 session fee. Because he had established himself as a photographer who could make stars look sexy, his former clients were happy to follow him.

Hurrell may have left he biggest studio in Hollywood, but if anything, demand for his work only increased. In 1935 he went to New York to dabble in fashion photography, where he took inspiration from Cecil Beaton and George Hoyningen-Huene. Returning to Hollywood in 1937, he loaned his talents to Warner Bros and Columbia, and then joined the First Motion Picture Unit of the US Air Force during WWII. Hurrell remained in the entertainment business for the rest of his life, trying his hand at advertisement production, direction and cinematography for Walt Disney Productions, and doing freelance stills and portraits for TV shows like Gunsmoke, films like Butch Cassidy and the Sundance Kid and All the President’s Men, and stars like Paul Newman and Liza Minnelli. He died in 1992, having been one of few Hollywood photographers to be celebrated in museum exhibitions during his lifetime.

Laszlo Willinger

It took MGM nearly five years to find a solid replacement for Hurrell. Born in Budapest in 1906, photography ran in Laszlo Willinger‘s blood. His mother was a photographer and his father owned a news agency. A quick and seemingly independent learner, he opened his own studio in Berlin at age 16, and at 19 he was living in Paris and managing the Keystone Photo Agency. Like James Abbe, Willinger started out as a photojournalist, contributing regularly to several German newspapers. When Hitler rose to power, Willinger moved to Vienna where his reputation as a portrait photographer was solidified.

It was there in the Austrian capital that he came face to face with the likes of Sigmund Freud, Max Reinhardt, and emerging film stars like Marlene Dietrich and Hedy Lamarr. By the time he signed a contract with MGM in 1937, he was already quite well known in Hollywood. His style was similar to Hurrell’s but, having worked on films at UFA in Berlin, he was likely influenced more by the haunted aesthetic of German cinema during the Weimar period than he was by any American photographers.

Inspired by German Expressionism: Geometric shapes…

Lines of light and shadow…

Double exposure…

Harsh lighting…This picture of Hedy Lamarr is interesting because of its overt sensuality, perhaps reflecting her performance in the 1933 Czech film Ecstasy, which showed her not only nude, but also depicted a female orgasm – a subject Hollywood censors wouldn’t touch with a ten foot pole. Laszlo knew her when.

But the concept of glamour was new to Willinger: “When I first arrived at MGM, Howard Strickling told me, ‘Everyone’s seen your pictures, you’re booked for the next six months. Make them real glamorous.'” He asked, ‘What’s glamour?’ There was a long pause. Then Strickling said, ‘Oh, you know, sort of a suffering look.’ So there wasn’t much laughing in those photos. You couldn’t have happy sex. Sex and earnestness – together those spelled glamour.”

He caught on fast, and soon was working in tandem with MGM’s other portrait photographer, Clarence Sinclair Bull, to tackle the heavy workload at the studio that claimed to have “more stars than there are in heaven.” Just as Hurell had, Willinger photographed all the major and minor players under contract, and he had his favorites. It wasn’t because of their talent, necessarily – Willinger seemed to have little tolerance for actors in general, saying that “they could only function through second-hand emotions,” and that “stars had support on every level. Most of them came out of nowhere. They had no taste. Joan Crawford was a call girl. She had designer Gilbert Adrian who said, ‘You wear my dresses. Nothing else.’ They had dance instructors, dentists, hairdressers, elocution lessons. Each star had at least two publicity men permanently attached to them, not just to a specific movie. They didn’t sell movies, they sold stars.”

But he could easily separate the pros from the amateurs. His favorites were Joan Crawford, Clark Gable and Vivien Leigh, because they worked with him rather than coming in with an attitude and saying “show me what you can do.” “They knew what was expected of them. These stars not only cooperated, they were eager. Some actors didn’t understand this, and you never heard from them again.”

In his heyday, Willinger photographed as many as four stars each week. “Even if a star wasn’t working, the publicity machine kept going,” he explained. “There were 400 newspapers across the country, each with two pages of shots a day. Over 30 million people bought fan magazines. Families went to the movies at least once a week. They didn’t care whether the picture was good or bad. All they were interested in was ‘Who’s in it?’ The only thing that was expected of me was to make images that the press would choose to print over everyone else’s… People ask, ‘How did you take such great pictures of Gable?’ I said, ‘First you have to start with Clark Gable! We began with very good looking people. But MGM had forty retouchers on salary. If they did three negatives a day, they were considered fast…You must realize that there were 5,000 pictures available on any major star. To get printed yours had to be the best.”

There was a method to this madness. Willinger made sure he was prepared before the sitter came into his studio. Sets were built; lighting was worked out to his specifications and the vision he had in mind for the photographs; crew was in place. There were surprisingly quite a few people on hand during a major portrait session. For example, when he photographed Vivien Leigh for the film Waterloo Bridge, he had “two electricians, one grip, one hairdresser, costumers, a second model, one makeup man and woman – in those days, men made up women’s faces, women made up from the chin down. Money was no object.”

However, even if the stars cooperated and everything went according to plan, photographers had another problem to contend with. By the time Willinger arrived in Hollywood, the Production Code, overseen by the President of the Motion Picture Producers and Distributors of America, Will Hays, was firmly in effect. The purpose of the Production Code was to police the film industry and make sure the public wasn’t being fed material that was considered “unwholesome.” It applied to everything from violence to profanity and, of course, sex.

Here are a few examples of the regulations in this category, to give you an idea of the restrictions placed upon filmmakers:

“Adultery, sometimes necessary plot material, must not be explicitly treated, or justified, or presented attractively.”
“Excessive and lustful kissing, lustful embraces, suggestive postures and gestures, are not to be shown.”
“In general passion should so be treated that these scenes do not stimulate the lower and baser element.”

Naturally, such restrictions also applied to the publicity materials used to promote the film, including photographs. If sex and earnestness were the elements of glamour, photographers had to get extra creative. Willinger found the Production Code silly: “For instance,” he said, “you couldn’t show the inside of a thigh! Ever try to photograph a dancer like Eleanor Powell and not show the inside of a thigh? You couldn’t show cleavage. What the retouchers did was make a breast that started at one shoulder and continued to the other – no shadow! Occasionally, there was a surprise. I did a portrait of Crawford where her face filled the whole frame. That was all. It came back rejected from the Hayes Office. I called and said, ‘What’s this? Nothing shows!’ They said, ‘Yes, but she could have been naked.”

Willinger left MGM in 1944 and spent the rest of his career in advertising, which seemed to suit his temperament. He said he could earn $5,000 photographing a puppy for a dog food ad, so who needs people? Looking back on his time in the film industry, Willinger considered many of the films of the ’30s and 40’s to be sub par, but when it came to the stars of yesteryear versus today, there was no comparison. To paraphrase Norma Desmond from Sunset Boulevard, they had faces then. Today, Willinger said, stars “all look the same – like unfinished pancakes.”

*****

James Abbe, George Hurrell and Laszlo Willinger are among the greats, but they weren’t the only photographers who worked for the studios. Ruth Harriet Louise, Ted Allen, Robert Coburn, Clarence Sinclair Bull, Bert Six and Frank Powolny were just as gifted. However it’s unlikely that any of these photographers would be very much remembered today without the tireless efforts of historian and prolific collector John Kobal.

The glamour shot went out of fashion in 1960 with the release of Federico Fellini’s Italian classic La Dolce Vita. Glamour was replaced with the rise of the paparazzi and candid photos of the stars. Around this time, the loss of audiences to TV, post-war consumerism and the Paramount Case, in which a federal decision was passed to prevent the big studios from continuing to block-book theatres around the country, saw the collapse of the entire studio system. Hollywood was rapidly changing and as often happens when a business is remodeled, it was out with the old and in with the new. With few exceptions, Hollywood has never really been a town that focuses on preserving its heritage for posterity. Perhaps because films had only been around for about 60 years, people in the business weren’t ready to consider its history. Whatever the reason was, many of the objects that made Hollywood great during its golden age were sold off or simply thrown away. This included sets, props, costumes, and even photographs, and it fell to individuals to salvage these pieces of history.

Debbie Reynolds is well known for buying up many of the costumes and props at the big 1970 MGM auction. She hoped to either sell them to an existing museum or raise money to build her own so that the collection could stay together. Sadly, neither of these ideas came to fruition and she recently sold this memorabilia piecemeal to the highest bidder.

In a similar fashion, John Kobal was responsible for assembling the largest private collection of photographs from Hollywood’s golden age. Tallulah Bankhead opened the door to Hollywood for him. “One night she called George Cukor and said ‘Dahling George…’ and after they gossiped forever, she remembered why she had called him in the first place and said, ‘I have this diviihhhne young man here, and he’s going to Hollywood and he doesn’t know anyone and you know everyone; and he’s really a most serious young man.’ She looked at me to make sure, and then mortified me by telling Cukor that I was broke ‘but presentable, dahling. And he knows everything about everybody’s movies.” He began in Hollywood as a journalist and met George Hurrell while covering a story on the set of one of Mae West’s last films, and then his obsession really took off. He established his own immense archive, collecting photos and negatives, publishing numerous books, and tracking down the photographers responsible for these works of art. A stunning selection of these photos, along with the photographers’ oral histories were compiled in Kobal’s seminal retrospective The Art of the Great Hollywood Portrait Photographers, which is credited for single-handedly reviving the reputations of the photographers I spoke about today.

What were once mass marketed publicity materials have now become iconic representations of a bygone era, worthy of exhibition in major museums like LACMA, the National Portrait Gallery and the Victoria and Albert Museum, and once again highly sought after by fans of classic cinema.

I ended my talk about Vivien Leigh on Thursday [at the Presidio Officers’ Club] with a quote from John Kobal and I think it’s appropriate to end on a similar note today. He said,

“Those who choose to see the great Hollywood stars simply in terms of the conditions out of which they emerged – economic, political, social or technological – stop short of what was actually produced: of what emerged out of their existence. These portraits of the great faces of Hollywood were products of their time and were forged by a need so powerful that these images were able to transcend both their time and the need they fulfilled – something that conventional portraits, chained to their subjects and our knowledge of them, can never be. They possess a freshness and openness to be found only in children, and an intensity most common in the mad. Long after the individual reputations of the subjects of these portraits have been forgotten, their profound beauty will cause them to live on.”

Main sources and recommended reading:

“The Art of the Great Hollywood Portrait Photographers” by John Kobal
“Shooting Stalin: The Wonderful Years of Photographer James Abbe” by the Museum Ludwig, Cologne; text by terence Pepper
“The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt” by Lotte Eisner
“Masters of Starlight” by David Fahey
“George Hurrell’s Hollywood” by Mark Vieira

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classic film essays photography

How the glamour shot changed Hollywood (Part 1)

By Kendra + June 5, 2015

As I mentioned in my last post, my interest in researching and writing about Vivien Leigh has not waned, but I am also eager to expand my knowledge on different subjects. So I was really excited when the Programs Manager at the WDFM invited me to give a talk about the history of glamour photography. Although I’ve loved looking at Hollywood glamour photographs since I first became a fan of classic films, I was less familiar with the details of their importance and the lives of the artists behind the cameras. I chose to highlight three photographers that represented three different eras of the studio system: James Abbe (whose archive I’ve been digitizing and cataloguing since January), George Hurrell, and Laszlo Willinger. The research was a lot of fun and the presentation itself went down pretty well, so I hope you enjoy it too!

*****

How the glamour shot changed Hollywood

Written and presented by Kendra Bean
Walt Disney Family Museum, April 11, 2015

Interest in photographs of celebrities dates back almost to the invention of photography itself, and it definitely pre-dated the invention of the movies. During the American Civil War, 2 1/2 by 4″ cartes-de-visites were printed cheaply, collected en masse and traded or displayed in albums. Cartes were so popular amongst the general public that the phrase “cartomania” was coined to describe the phenomenon. Later, collectible postcards, cigarette cards and larger cabinet cards featuring famous personalities of politics, theatre and literature were also popular collectibles.

Although the concept of glamour had been part of Western culture since the 18th century, the term as applied to Hollywood came about in the 1930s to describe a style of photograph that captured the otherworldly beauty embodied by film stars. Glamour, like film stars themselves, was a carefully constructed illusion that was fed to the movie-going public, who in turn worshipped these God-like figures and fed their desires by purchasing tickets at the box office, thereby fueling the studios that produced the images to begin with.

Glamour photography wouldn’t have been possible without the formation of something called the star system. In the very early years of cinema making, there were no such things as stars. Actors in films were anonymous, or known to the public by nicknames. Take the Biograph Girl, for example. Biograph was a film company run by D. W. Griffith, the director of Birth of a Nation and one of the most famous film producers of the silent era. He cast this young woman in several films, and audiences wrote in to the studio enquiring about her real identity. Griffith refused to release such information because he, like other producers, was afraid the ensuing fame would lead the actors under contract to demand higher salaries. She remained “The Biograph Girl” until 1909 when she joined Independent Moving Pictures Company headed by Carl Laemmle, the future president of Universal. Seeing the benefit of revealing the actress’ real name, Laemmle concocted a genius publicity stunt. He started a rumor that the actress had been killed in a car accident in New York. Once the rumor picked up steam, he placed her picture in several newspapers claiming his studio had uncovered the truth: that the actress, real name Florence Lawrence, was indeed alive and well, and making a new film for Independent Moving Pictures. A personal appearance in St Louis assured her fans that she was all right and thus Florence Lawrence, with the assistance of Carl Laemmle, became the first film star.

Once the studios became wise about creating stars to sell their films, thousands of people were employed to prepare, package and promote them. Photographers were part of the publicity department. Their photographs were sold to newspapers and fan magazines by the thousands, used to promote tie-in products, and appeared on film promotional posters and lobby cards. There were two different kinds of photographs taken while films were being made. One was the scene still. These were not stills captured from an actual film but rather posed images of actors in costume recreating scenes from a film. The second was the publicity portrait, usually taken in the photographer’s studio with the star or stars in costume or plain clothes before cameras started rolling. This meant that the stars and photographers had to come prepared with knowledge of the script and characterizations in order to transmit that to the camera. Portraits were also taken between film assignments and supplied to news outlets to make sure the star remained in the public eye even when he or she wasn’t currently on the big screen.

The whole enterprise was carefully planned out in advance. Historian John Kobal explained the preparation that went into running a publicity campaign:

“A campaign meeting was called before every picture was begun. There might be eight films in production at once, and one publicist and two assistants were assigned to each. Someone responsible for putting the campaign together would be there from the photography department to ask questions. What’s the film about? Are the costumes going to be of particular interest? The sets? How’s the star going to look? The meetings covered magazine and newspaper stories – what photos, spreads, and off-stage portraits would be used to sell the film?

“Once the copy for a campaign was approved, it was sent to the planting department. Five people did nothing but place [or plant] stories in newspapers and magazines; these had some factual basis but were generally puff pieces…The ‘planters’ worked closely with the editors and would get them to use photographs of up-and-coming stars in return for exclusive photographs of established stars. Ideal Publications put out five or six fan magazines for which the studio portrait gallery was always taking photos.”

The studio bosses also understood how important fans were to keeping their industry going. Magazines often included forms that readers could fill out to receive 8 x 10 photographs of their favorite actors, and portraits (usually signed by secretaries) were mailed out by the thousands. In fact, a star’s standing at a particular studio largely hinged on how much fan mail they received. So it was a real give and take system and the photographers played a central role.

During the silent film era, before the big studios conglomerated, producers often employed one photographer to cover all of the bases. Madison Lacy, who later worked for Warner Bros. but started in Hollywood around 1916, described what it was like to work in Hollywood during the very early years:

“When I first started out, you handled slates, loaded cameras, timed the shots, fero-tagged the fero-tag tin, dried the prints, loaded, made copies. We had to develop our own prints, which we did in a piro soup that made our hands as black as coal, because on the set you don’t always have the lights you like, so in your printing you learned to burn in something that’s very hot or hold back something when there isn’t enough light. You also had to do your own retouching. Anything at all that had to be done, you did.”

Another photographer who filled this multi-disciplinary role was James Abbe.

JAMES ABBE

I wanted to talk a bit about this particular photographer because I’m currently helping his estate digitize and catalogue his archive. The James Abbe Archive, based in San Francisco and Redding, California, consists of approximately 5,000 objects ranging from original prints to negatives (including glass), letters, newspaper cuttings, radio shows and the unpublished manuscript for his autobiography. The scope of this archive has great cultural significance. Abbe was both a portrait photographer and photojournalist. His work has appeared in publications as diverse as Vanity Fair, Shadowland, the New York Times, Berliner Illustrirte Zeitung and Vu.

Jenny Abbe and photographs curator Terence Pepper sort through Abbe’s photos in New York.

James Abbe was born in Alfred, Maine, in 1883. His father, James Sr., worked in the book trade and moved the family south to Newport News, Virginia where he opened his own store. It was here at age 12 that the young James Abbe became interested in photography. After seeing his sister’s boyfriend with a portable Kodak camera, Abbe convinced his father to start selling cameras and other photographic equipment to his customers. Acquiring an Eastman Kodak pocket camera, Abbe could often be found snapping pictures of interest around town. His atmospheric shots of the shipyards, troops going off to fight in the Spanish-American War, and other topics of local intrigue earned him the nickname “the boy photographer of Newport News.”

At 23, Abbe went professional when he was contracted by the Washington Post to visually document the Great White Fleet of American battleships traveling to England and France in effort to impress (and possibly to intimidate) Kaiser Wilhelm of Germany. An image of the battleship USS North Dakota trudging through a storm tossed sea in the Bay of Biscay was snatched up by several European publications.

The Washington Post assignment was a success, but as anyone who has tried to make a career out of freelancing knows, you often have to supplement it with other work until you can make it into a career of its own. Returning from Europe, Abbe was offered a job at the J.P. Bell publishing company in Lynchburg, Virginia and during this time began experimenting with portraiture using subjects from the nearby Randolph-Macon Women’s College, which were published in the College annuals. It wasn’t long before Abbe had built up enough confidence in his portraiture to show a portfolio of his work to editors of major magazines like Vanity Fair. In 1917, encouraged by the response, he moved with his wife and three children to New York where he set up an independent photographic studio on West 67th Street.

Abbe was influenced by and took inspiration from the best of the best. During his lifetime, Edward Steichen was considered one of the greatest photographers of the 20th century. He excelled in many areas, including fashion, advertising, nature, documentary and war photography. His portrait subjects ranged from Gloria Swanson to Henri Matisse to James Abbe’s daughter Patience. He was also one of the first photographers to experiment with color, and worked for a time as the Director of Photography at the Museum of Modern Art in New York.

The interwar period saw photographic technology and experimentation grow by leaps and bounds. Steichen, along with many European photographers, employed the ideas of New Objectivity, an artistic movement that flourished in Germany during the 1920s. Unlike the abstract Expressionist movement, New Objectivity as applied to photography moved away from the dreamy and romantic, and instead produced sharply focused, objective images. Like Steichen, James Abbe would apply similar ideas to his portraits.

In the 1910s, the fledgling American film industry was split between Los Angeles and the East Coast. As a freelancer in New York, not bound by exclusive contracts, Abbe was free to photograph at his leisure and commercialize his work by selling prints to several different publications, often being paid twice for having the same photo published in different magazines. Abbe photographed the dancers of the Ziegfeld and Greenwich Village Follies, and film stars like Rudolph Valentino and Natacha Rambova, Fred and Adele Astaire and Mae West using both studio and location settings. One of his 1919 portraits of Broadway star Jeanne Eagels was the first photograph to land the cover of the Saturday Evening Post.

Most of the famous Hollywood photographers had working relationships with one or two stars that solidified their reputations. George Hurrell had Joan Crawford. Clarence Sinclair Bull of MGM had Greta Garbo. Bob Coburn at the Goldwyn Studios had British actress Merle Oberon. And James Abbe had Lillian Gish.

They first worked together when Abbe was commissioned to photograph Gish in costume for the 1919 D.W. Griffith film Broken Blossoms. Gish always played the pure and angelic waif in her films. Frail and hauntingly beautiful, her characters often endured intense suffering. In Broken Blossoms, she plays Lucy Burrows, a young girl living in London’s gritty East End. After suffering at the abusive hands of her alcoholic father, Lucy meets a kind-hearted Chinese man (played by white actor Richard Barthelmess) who takes her in and nurses her back to health. They fall in love, but it ends in tragedy. Throughout the film, Gish’s expressions of solemn sadness and fear are cleverly captured in an array of close-ups. In fact Gish became so famous for close-up shots that when she starred in the 1987 film The Whales of August, director Lindsay Anderson told her after one particular take that she had given him a perfect close-up. Her co-star Bette Davis supposedly quipped: “She should. The bitch invented them.”

In her heyday, Lillian Gish was one of the most recognizable faces in silent films. She also had a lot of control over what films she appeared in and who she worked with. Abbe’s photos for Broken Blossoms perfectly capture Gish’s virginal innocence. The serene, Madonna-like pose and speaks of the image she projected on screen, while the mid-length shot, theatrical flowers and fan recall the romanticism of the Edwardian era from which Gish emerged.

Gish liked Abbe’s photos so much that she requested him for several other films, including Orphans of the Storm, Way Down East, and The White Sister, during which Abbe served as both stills and portrait photographer. The White Sister is particularly notable because it was filmed in Italy and the desert of Lybia rather than at a studio in the United States. This meant that Abbe had to lug his big camera to locations like Mount Vesuvius. He even had a bit part in the film, playing a dying Italian soldier. But perhaps his biggest contribution to the film and to cinema history (aside from his wonderful photographs), was his discovery of British actor Ronald Colman, who was hired to play Lillian Gish’s love interest and went on to become a major star bridging the perilous gap between silent and talking pictures.

Abbe’s experience in the film industry extended to Los Angeles, as well. At the encouragement of Gish, Griffith and other New York acquaintances, he travelled west to try his luck in Hollywood and in 1920 and 1922 he produced what amounted to a broad survey of life and work in the fledgling movie capital. “Show business, in which I was up to my eyes, does not allow for delayed or cancelled appointments,” he said. “ Any who have ever been in the acting of producing business, on stage or in the movies, soon learn that time is of the essence. Punctuality is a necessity rather than a virtue. Only a few stars, regarded as irreplaceable or temporarily indispensible, can be tardy. Over the years I found show business people dependable, considerate, and easy to get along with. Mary Pickford once posed for three hours on her Hollywood set after a day’s work making a movie when it was her birthday.” “Charlie Chaplin was, and probably still is, a tight wad,” Abbe noted. “ None of the others on the Sennett lot was a spendthrift, but on the other hand, none was willing to go to the extremes Charlie Chaplin did, paying the lowest possible salaries while amassing fortunes.”

As a freelancer, Abbe’s work appeared in various fan publications, most notably Photoplay and the very popular arts magazine Shadowland. He also formed a close friendship with producer Mack Sennett who turned out comedies at his Keystone Studios in Los Angeles. Abbe was hired to work 10-hour days at $500 a week photographing Sennett’s famous Bathing Beauties, and even got hired to direct and produce his own feature film. Stills from the picture survive, but according to a major study by the Library of Congress, 70% of the silent films made in the United States are now considered lost, and Abbe’s film Home Talent is unfortunately one of them.

Abbe left the United States in 1923 and settled in Europe where he turned his attention back to photojournalism and news reportage. Traveling through England, France, Germany and Russia, he photographed Louise Brooks, the quintessential flapper then in Europe enjoying a lucrative collaboration with German film director G.W. Pabst; John Barrymore backstage during his landmark run as Hamlet in London. He found Russian filmmaker Sergei Eisenstein in Paris, and even photographed Hitler and Stalin in Munich and Moscow, respectively. Throughout the ’20s and ’30s, Abbe managed to keep his finger firmly on the pulse of culture and politics during this rapidly changing time. And although his time in the film industry was but a small part in a much broader career, his photos of the top stars of the silent screen are what he is most remembered for today.

Stay tuned for part 2 of How the glamour shot changed Hollywood…

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book news general discussion

Talking Vivien Leigh and The Future

By Kendra + May 21, 2015

A couple weeks ago I was contacted by a youtube user called Jim Junot, who has started a web series called The Junot Files where he interviews authors of books related to old Hollywood. On Sunday we sat down to chat via Skype about Vivien Leigh and the research that went in to Vivien Leigh: An Intimate Portrait, why I didn’t shy away from writing about mental illness, and what’s coming up next in work and life. (About that: I can tell you that after many years of nail biting anxiety and low level depression, followed by about 8 months of proper “me time” during which I had to move back to California, got a new therapist, a proper diagnosis, went on medication, and spent last summer and fall getting to know me, the ball is finally rolling again and I feel stronger and ready to tackle the uncertainty of the future.)

The biggest news is that I’m happy to officially announce my next book, which I’m co-writing with my dear friend Anthony Uzarowski. We’re giving Ava Gardner the illustrated biography treatment! Ava Gardner: A Life in Movies (working title) will be published by Running Press in October 2016 and will be of the same format as the Vivien Leigh book. I’ve even requested the same designer who I thought nailed it on the first go around. What excites me about this project is that it’s a chance for me to learn about someone I didn’t know much about already, and to be able to branch off from Vivien Leigh in a professional way. This is not to say my interest in Vivien or Laurence Olivier has waned–in fact it’s only grown as more information and archives become available and there’s a lot of potential for future projects (including one I’m collaborating on at the moment). However, my goal is to be Kendra Bean: Historian rather than just Kendra Bean: Vivien Leigh Expert Lady, you know? So I’m eager to expand my knowledge in different areas of media history. Anthony and I are currently hard at work so if you enjoyed my first effort at book writing, we both hope you’ll stick around for the second!

The other big news is that I’m moving back to London in the fall to rejoin Robbie and Lulu the kitty, and also to pursue another MA – this time in Museum Studies at University College London as training to become a museum curator. After co-curating the Starring Vivien Leigh exhibition at the National Portrait Gallery, followed by a Photographs Dept. internship under the guidance of Terence Pepper and Claire Freestone, I felt like I’d finally found an area of work where I feel “at home.” Subsequent involvement with goings-on at the Victoria and Albert Museum has added to my desire to go down that road. I’ve learned that the museum/archives sector is a tough area to break in to, especially with the economy (in the US and UK) being in shambles at the moment, so I’m trying to build up my CV.

Luckily, I was given a wonderful opportunity back in January to assist the estate of photographer James Abbe in digitizing and cataloguing his photographic archive. It’s been a very interesting experience so far and I’m proud to be involved with this large-scale project from the beginning. Abbe was a portrait photographer as well as a very active photojournalist from the 1910s-1930s. His subjects ranged from Lillian Gish and Charlie Chaplin to Joseph Stalin and Adolf Hitler. His work has been exhibited a few times in museums, including a landmark show put together by Terence Pepper at the National Portrait Gallery in London back in 1995 that really brought Abbe back into the public consciousness. There is infinite potential for this material and we are working on ways to harness it. The first step is getting it all organized, so that’s what I’ll be doing for the rest of the summer.

Onward!

cinema experiences events

Field Notes from the 2015 TCM Film Festival

By Kendra + May 4, 2015

Back at the end of March, thousands of film nerds from around the US (and as far afield as Canada, Sweden, Norway and Scotland) descended upon Hollywood Blvd for the 6th annual TCM Classic Film Festival. I was lucky enough to be one of those nerds, making the pilgrimage to the film capital of America from the exotic and far away land of Sacramento.

I arrived on the afternoon of Wednesday the 25th and was immediately reminded of the one thing I hate about LA – the traffic. Don’t get me wrong, I love LA for many reasons but the constant gridlock on the 405 and the 5 is not one of them. What is usually about a 30-40 minute drive from LAX to West Hollywood without traffic took me a good two hours. There’s always the one mile-long stretch on the 405 just as you come to the 10 junction at Culver City where you end up crawling bumper to bumper. I blame the lack of sufficient public transportation in this glorious but sprawling city.

As a first-timer at the TCM Film Fest, I wasn’t sure what to expect. Were the regulars nice? Were the fans crazy? How many films could I realistically see in one day? What about food? I forgot my phone charger – does anyone have a cable I can borrow? No, it’s an iPhone 4S, I’m too lazy to upgrade at the moment. It turns out the answers were yes, yes but in a good way, four, In n Out Burger, and yes because the people manning the ticket desk at the Chinese Theater were all sorts of helpful (thanks, longtime V&L supporter Sari Navarro!).

I saw 11 films in total plus attended two talks at Club TCM. Here’s the run down:

The Red Carpet

The opening night film this year was the 50th anniversary restoration of The Sound of Music. Unfortunately, only special guests and top-tier festival passholders were admitted into this screening. But part of me really wanted to see Julie Andrews in person, so I decided to brave the bleachers with fellow bloggers Jessica Pickens and Angela Pettys. It was about 85 degrees outside and pretty sweaty and uncomfortable. But Julie and Christopher Plummer were worth it, right? Back-of-knee sweat be damned! And the good people of TCM handed out free water bottles.

I’m sorry to say the red carpet bleacher experience was a let-down. Most of it was spent greeting passholder fans as they walked down to enter the cinema. On the plus side, we did get to see Shirley Jones (radiant in a turquoise pant suit), Norman Lloyd (100 years old and still kicking ass and taking names), Keith Carradine (remember when he played Doc Holiday on season 1 of Deadwood? I do! He seems like a nice guy), Diane Baker (gorgeous), and Robert Morse (so sweet and touched that people remember him). And then the big moment arrived: Christopher and Julie were in the house! They stopped to chat with the press and were then quickly whisked past the bleachers while bodyguard/assistant people shielded them with giant black umbrellas. Neither of them stopped to acknowledge us cheering fans in the bleachers. It was really disappointing.

Christopher Plummer

Julie Andrews’ chin

For future reference, I’d recommend the red carpet event only if you’ve got a press pass to either interview the stars or attend the film. Well, at least I can say I caught a glimpse of Julie Andrews’ chin!

Norman Lloyd and TCM’s Ben Mankeiwicz

Leonard Maltin

Shirley Jones

Keith Carradine

Diane Baker

The Films

My personal opening night film was Queen Christina. This was a first for me – my goal was to check out films I’d never seen before. It was followed by My Man Godfrey, which is one of my all-time favorites. Carole Lombard films on the big screen are too few and far between, so it was a real treat with a great audience and by far the better of the two films that evening. Unlike Garbo and John Gilbert in Queen Christina, the performances in and the overall pacing of Gregory La Cava’s 1936 screwball comedy still hold up pretty well today.

Friday March 27 was the first full day of the festival. The theme this year was “History according to Hollywood.” There are countless films that fit under this broad umbrella but TCM had the challenging task of curating a selection that spanned about 80 years of filmmaking and appealed to a broad audience. There were many people who complained online about some of the films that were chosen; we tend to adhere to the idea that the 1960s was the cut-off in terms of “old Hollywood” and that anything made beyond 1967 (or even earlier for some people) doesn’t belong at a festival like this. But how do we even define “classic”? Because there were many films made during the studio era that haven’t endured. Just because it’s old, does that automatically make it a classic film? Maybe. Maybe not. The idea of a classic film is pretty subjective. I mean, Raiders of the Lost Arc is a classic in my book (as are the other Indiana Jones films – especially Temple of Doom. Haters to the left! – except that new one which I didn’t care for at all). I saw it in a packed screening at the El Capitan and I loved it!

That said, I ended up veering from my original schedule and saw some films I hadn’t planned on seeing. And it was great! The only thing I’m sad to have missed was Anthony Mann’s little-known 1949 film Reign of Terror. I fully planned on going, but being a first-timer at this festival, I completely underestimated the tastes of my fellow festival-goers. Having met up with Cindy De La Hoz, my editor at Running Press, for a coffee beforehand, I figured getting there 40 minutes beforehand would be plenty of time. I was wrong. I was so wrong. As I walked down the line and saw that many of my blogging friends had been queueing for a while, I had the sinking realization that I wasn’t going to get in. And I wasn’t the only one. It ended up being such a popular film that they screened it again on Sunday. Alas, I missed that one, too. Cindy and I ended up watching The Purple Rose of Cairo, which was a suitable consolation prize. It’s my favorite Woody Allen film and it fit the History According to Hollywood theme to a “T”.

Here are the other films I saw during the festival:

Broadway star Christine Ebersole introducing 42nd Street

+ Naughty, gaudy, bawdy, sporty 42nd Street – my friend Amy drove up from Orange County to watch this with me! She used to take dance lessons and so knew the songs but had never seen the film (neither had I). I thought it was a blast. Who doesn’t like a good Busby Berkely number? Or a young Dick Powell? Or toe-tapping dance numbers? Would watch again.

+ Gunga Din – another first for me. I really enjoyed the film itself but the introduction by Craig Barron and Ben Burtt of the Academy of Motion Pictures Arts and Sciences made it even better. They gave a really informative presentation about the making of the film, including screening color home video footage of Joan FOntaine, Douglas Fairbanks Jr, Victor Mature and Cary Grant on the set, and traveling to northern California to scout out the locations used in the film. They did all of this while wearing pith hats. While parts of the film were rather uncomfortable to watch (most notably the title character being played by white actor Sam Jaffe in brown face), Barron and Burtt reminded us that Gunga Din, like many other films of the era, was a product of its time, and that to really enjoy it, we might have to remove our “PC hats” for a couple of hours. Good advice, guys.

+ An Affair to Remember – This is one of those iconic love stories that sucks you in and at the same time makes you want to smack the characters.. Aren’t you asking why Terry isn’t getting up from the couch and greeting you, Nicky? And Terry, why didn’t you contact Nicky after the accident and tell him you didn’t run out on him at your Empire State Building wedding?! What’s wrong with you two? “If you can paint, I can walk!” *Melts into a puddle of tears in the audience*

+ Apollo 13 – We owned this on VHS when I was a kid and it’s far from my favorite film so I wasn’t planning to see it at the festival. But my other plan ran afoul and my friend Jeremy was in line, so I decided to join him and boy, am I glad I did! To introduce the film, everyone’s favorite Jeopardy! host interviewed astronaut Jim Lovell live onstage right there in the Chinese Theater. Lovell, for those of you who have never seen Apollo 13 or don’t care about space, was played by Tom Hanks in the movie. It was one of the most interesting and gripping interviews I’ve ever witnessed. I was literally on the edge of my seat as he talked about being on that spaceship when it blew up and having to steer his co-astronauts back to earth. The infinite concept of space in and of itself is one I have a hard time wrapping my brain around. So you can imagine how blown my mind was when Lovell described having a two degree window in which to steer the little module they were in. If they went too far to one side, they’d burn up in the Earth’s atmosphere. Too far to the other side and they’d miss Earth completely and float out into the abyss forever. I can’t imagine anything more terrifying. He was so calm about reliving that experience and I was sitting there going:

Bill Paxton also turned up.

+ The Grim Game – Harry Houdini + previously considered lost silent film + live orchestra accompaniment by the TCM Players = total geek moment for Kendra

+ Out of Sight – Sadly, this screening wasn’t very full. I’m assuming that’s because Out of Sight was made in 1998 and stars George Clooney and Jennifer Lopez (those last two things being why I’d never bothered to watch it before). But it turned out to be one of the best films I saw at the entire festival. It was introduced by TCM’s Ben Mankiewicz, who claims it’s one of his favorite guilty pleasure films (after watching it, I’d like to say “Come on, Ben. Nothing to feel guilty about here!”), and editor Anne V. Coates – my favorite celebrity at the festival (more on that in a bit). Coates chose this film along with Lawrence of Arabia to represent her work at the festival and after watching it, it’s easy to see why. Coates is a brilliant editor and is especially known for editing sex scenes. Out of Sight may be one of the hottest films I’ve ever seen, and one even gets naked. It was a masterclass in creating sexual tension without resorting to nudity and exhibitionism. In addition to enjoying Steven Soderbergh’s humorous crime drama as a whole, Out of Sight taught me two things: George Clooney was never better looking and Jennifer Lopez is actually a really good actress, something many of us tend to forget in lieu of her pop career and string of subsequent mediocre film choices.

+ Earthquake – Ava Gardner? Charleton Heston? Monical Lewis? Awful 1970s disaster film? Sign me up! I joined Amy, Lara and Kristen for this poolside screening at the Hollywood Roosevelt. There was alcohol and a veggie platter. We laughed. A lot. There was a very long-winded intro by Illeana Douglas and Richard Roundtree. My favorite part was when Roundtree spoke about how wonderful it was to work with the great David Niven and how funny he was. My ears perked up. David Niven’s in this film? It’s going to be brilliant. Well, it turns out that David Niven actually isn’t in the film. Rather, it’s some guy called Kip Niven who probably isn’t even related to David. But you know what? I’m glad Mr Roundtree has memories of working with David Niven, because that’s how I’d want it to be too, even if that memory was false. Also, Ava Gardner’s performance in this film was the greatest! So camp and fun! She apparently did her own stunts so we were hoping she’d ride away into the sunset on Richard Roundtree’s motorcycle. Alas.

The Special Events

One of the great things about the TCM Film Festival is that there’s always something going on. Miss a screening? Head to Club TCM at the Roosevelt for special talks and activities. I attended two of these. The first was a conversation with editor Anne Coates, who I mentioned above as being my favorite celebrity at the festival. I went because I wanted to learn about her association with David Lean, but I walked away having learned a lot more about this fascinating woman.

Coates fell in love with the movies when she saw Wuthering Heights in England and fell in love with Laurence Olivie. She began her career working as a director of religious films in the 1940s for her uncle, one J. Arthur Rank (producer of Laurence Olivier’s Hamlet, several Powell and Pressburger films, and many other British classics). It was Rank who suggested she should become an editor and she got to assist on the Powell and Pressburger masterpiece The Red Shoes. It was fascinating to hear her talk about her role in shaping an actor’s performance. If an actor gave a good performance, her work was relatively easy. If it was a terrible performance, she had her work cut out for her, trying to turn something terrible into something worth watching. Much to our disappointment (but much to her credit), she didn’t name names. However she did speak of one anonymous actress who had most of her dialogue cut out of the finished film because the delivery was so awful. Everyone praised the final performance, but it was Coates who deserved the accolades.

Coates is in her 80s now and is semi-retired. Throughout her busy career she’s edited choice films like To Paris with Love (1956), Becket (1964), Lawrence of Arabia (1962), Murder on the Orient Express (1974), The Elephant Man (1980), Chaplin (1992), In the Line of Fire (1993), Unfaithful (2002). Her most recent film was Fifty Shades of Grey (2014).

“Good gravy!” Child star Jane Withers talking about her home movies at Club TCM.

The second special event I attended at Club TCM was “Hollywood Home Movies,” which is exactly what it sounds like: Jane Withers, Bob Koster and Neile Adams McQueen joined AMPAS’ Randy Haberkamp and Lynne Kirste for an afternoon of home videos. It was so much fun and such a treat to see color footage of famous names like Freddie Bartholomew, Elsa Lanchester, Charles Laughton, Jane Withers, Steve McQueen and others going about their normal lives – lives that included pool parties, motorcycle riding, luncheons, tennis matches and other activities. Haberkamp and Kirste also treated us to rare footage of Gary Cooper behind the scenes on one of his lost silent films. Getting an inside perspective into this footage really brought it to life. Now if only AMPAS would release that color footage from Wuthering Heights!

The Friends

The festival itself was enough to write home about but what really took it to the next level for me was meeting so many fellow film bloggers and people I’d been talking to on social media for ages. There was a real sense of camaraderie – of people being interested in each other’s work and what they’re doing in the classic film community, whether it’s reporting for top publications, writing books, archiving, or simply blogging as a hobby. I felt I gained some real friends, people I’d actually hang out with in real life. Everyone, bloggers or not, came together to celebrate a mutual love of movies, and it was beautiful. So cheers to all of you that I met. You’re all extraordinary in your own ways. And cheers to TCM for creating this wonderful event where we could geek out to our hearts’ content without embarrassment or judgement. I’m moving back to London in the fall, so I might not be able to go again next year, but I’m so grateful for the opportunity to experience the TCM Film Festival in all its glory at least this once.

With Amy, who I’ve known since 6th grade!

With Jill from The Black Maria!

With Ben Mankiewicz!

Finally, I’d like to give a special shoutout to the following people whom I had the pleasure to meet and whose blogs you should definitely seek out: Aurora (Once Upon a Screen), Jill, Carley and Wade (The Black Maria), Diana (Everywhere, basically), Marya (Cinema Fanatic), Kellee (Outspoken and Freckled), Raquel (Out of the Past), Kristen L. (Journeys in Classic Film), Christy (Sue Sue Applegate), Kristen S. (Sales on Film), Kim (I See a Dark Theater), Lara (Backlots), Jessica (Comet Over Hollywood), Angela (Hollywood Revue), Trevor (A Modern Musketeer), Joel (Joel’s Classic Film Passion), Iba (I Luv Cinema), Laura (Lauras Misc. Musings), Casey (Noir Girl), Kendahl (A Classic Movie Blog).

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cinema experiences events

On the road to the TCM Film Festival

By Kendra + March 18, 2015

Around this time a couple of years ago, I sat in the flat I shared with my boyfriend and cat in London and wrote a ~~jealous and bitter~~ post about how I wasn’t going to the TCM Film Festival like everyone else in blog land but it was okay because I had other things to do, so there! Whatever!

Despite living in southern California when Turner Classic movies launched their now-annual film festival in Hollywood, I’ve never been before. I haven’t mentioned this here, but I’ve been back in California for a year now (visa issues; but I’m going back to London in the fall for another Master’s degree – professional student for life! – and to resume my life with boyfriend and kitty). So this year I was determined to go to the festival I’d heard so much about…if I could get a media credential. TCM, smartly in tune with how much their fans drive their success as a network, has reportedly been pretty open to allowing film bloggers to cover the festival for their respective sites. I was encouraged by a friend to apply to be one of these reporters, so I did and I guess they liked my blogging skillz to pay the billz (or something) because I’m heading down to LA next week to cover the festival for vivandlarry.com! Thanks, TCM!

This year’s theme: “History according to Hollywood.” Unfortunately, they’re only screening one Vivien Leigh and/or Laurence Olivier film this year – Alfred Hitchcock’s Rebecca. But since I’ve already seen that film on the big screen and have written about it previously, I’ve decided to forego it in favor of curating a personal schedule of films that I mostly haven’t seen (or haven’t seen on the big screen, anyway) before.

Here’s my tentative schedule. I didn’t think it would be this hard to choose! In fact I posted this on Facebook about 10 minutes ago and have already changed my mind about some films.

Queen Christina
My Man Godfrey
The Dawn of Technicolor
I had at first considered seeing Lenny or Lawrence of Arabia but now I think I might skip both in favor of Reign of Terror, a film about Robespierre and the French Revolution! (although I should probably see Lawrence of Arabia because I do love me some David Lean and have never actually made it to the end of this film)
Limelight
Raiders of the Lost Ark
Roman Holiday
Boom! (this one’s for you, Andy Budgell!)
42nd Street
The Miracle Worker (or the discussion with David Lean’s editor Anne V. Coates)
Viva Zapata!
Adam’s Rib (or Return of the Dream Machine)
The Hunchback of Notre Dame
Gunga Din
Judgement at Nuremberg
The Grim Game (a surviving Harry Houdini film with live musical accompaniment! JOY!)

This year’s festival takes place from March 26-29. I’m very excited to finally meet a lot of the bloggers I’ve had the fortune of “knowing” on social media over the past few years, as well as seeing some old friends!

Be sure to subscribe to updates in order to be notified when new posts are made here on the blog. I’ll also be live Tweeting/Facebooking/Instagraming so you can be part of the experience, too! Join me on this adventure where I talk about films, old movie stars, and what happens when you get a ton of rabid classic film fans in a one mile radius. It should be interesting!

And if you’re going to be at the festival, please let me know because I’d love to meet you! Also, if you have a copy of Vivien Leigh: An Intimate Portrait on hand, I’d be happy to sign it for you.

See you next week in LA, everyone!

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