Mary Martin, Hedda Hopper, Dick Powell

In her memoir, Mary Martin would cite only two books that she'd read as a youth, specifically when she was eleven years old—The Well of Loneliness, and The Life of Isadora Duncan (a noted bisexual). Written by British author Radclyffe Hall, The Well of Loneliness would come to be considered a classic lesbian novel of the twentieth century. Shortly after its arrival in 1928, the controversial work was “attacked in several courtrooms” for its suggestion that “inverts” should be tolerated. So Martin’s taking the trouble to name The Well of Loneliness—without even bothering to bury it in a much longer list of books—might be viewed as an intended message that she grew up with a definite and unequivocal lesbian influence. “I wanted to be Peter Pan the first time I saw him—before I ever thought of being an actress,” Martin would tell a reporter in 1954, when her musical version of Peter Pan was about to open on Broadway. Thanks to the live TV version that followed and became a perennial favorite, Peter Pan would become the role most identified with Martin, both during her lifetime and beyond.

Martin admitted sex was secundary for her: “When I decided to try and be an actress, there was a lot of pushing from mother—she really wanted me to be an actress. She gave me a lecture about how important it was for me to sublimate my sexual drive and put it into my work. She said if you want to be in the theater, you have to give all of your energy to the audience. You have to save that for the public.” At some point in 1931, given her severe depression, Mary Martin followed the doctor’s orders and spent two weeks at the Yeagers’ home in Mineral Springs, away from her husband, her parents, and her son. But it was Mary’s sister, Geraldine, who provided the real cure when she suggested that Mary become a dance instructor. There was at least one Hollywood insider, however, who recognized Martin’s potential: Hedda Hopper. Beginning life with the birthname of Elda Furry, Hopper had been a chorus girl and silent movie actress before becoming an NBC radio personality in 1936, around the time she met and instantly seemed like a “second mother” to Martin, who was twenty-two years Hopper’s junior. Forever vying with Louella Parsons for recognition as the top Hollywood gossip columnist, Hopper had influence that would benefit Martin’s career in both obvious and hidden ways. 

Hedda Hopper, who had by then become a close friend, would see South Pacific five times. Hopper wrote: "Like Peter Pan, Mary Martin flies untouched over the negative things in life." A week into rehearsals, Martin’s biggest fan, Hedda Hopper, gave an all-star dinner for her favorite performer. As reported in Hopper’s column on June 23, 1953, the other “billion dollars’ worth of talent,” or guests, included Lana Turner, Joan Crawford, Liz Taylor, Jennifer Jones, Jean Simmons, Barbara Stanwyck, Robert Taylor, Ethel Merman and Cole Porter. “At evening’s end, Mary said, ‘This is the first party I’ve been to in years when nobodoy asked me to sing a single number.’” Martin was planning a large New York wedding for her daughter Heller’s upcoming marriage to Anthony Weir, an advertising man, on January 20, 1962. Martin gave a lengthy account of the whole affair to Hedda Hopper, who devoted her entire column to the story on February 13.

In Rhythm on the River (1940), Martin’s relatively puny salary continued to demonstrate her lower-rung status at the studio: Martin was paid a paltry $20,416 in comparison with Bing Crosby’s $150,000. Helpfully, though, in addition to guaranteeing Martin $2,500 a week, her contract with Paramount stipulated that she could leave the studio every Thursday at twelve thirty to attend rehearsals and broadcasts of Dick Powell’s Good News radio program, for which she was earning nearly half as much as her film studio guarantee—that is, $1,000 per show. Powell and Martin seemed to share certain animosity towards Crosby, who had co-starred with Powell's wife Joan Blondell in East Side of Heaven in 1939. There had been rumors of Blondell having had an affair with Crosby (a well known lothario) on the set. 

Probably Hopper was protecting Dick Powell indirectly (and Martin directly) while she ignored all the obvious signs of their dalliance. Also it's possible that from Martin putting in a good word for Powell sprang Hopper's efforts in trying to hide a tryst between Dean Martin and Powell's wife June Allyson. When Louella and Hedda made a temporary truce, they probably compared notes. Hedda had been friends with Marion Davies, who had toyed with the idea of maintaining a clandestine relationship with Powell. Hedda had agreed with Marion that Blondell wasn't suited to Powell's more serious character, but the journalist seemed somehow indifferent to Blondell. Some insiders, like Jane Wilkie, speculated that Hopper never ingratiated to Allyson because Allyson (not Davies or Martin) was Powell's true love. And the proof is how hard he fought to keep his marriage to Allyson afloat. Probably Powell didn't follow Hopper's advice and didn't break Dean Martin's nose. Yet it's intriguing to imagine what transpired between the scenes. —Sources: "Some Enchanted Evenings: The Glittering Life and Times of Mary Martin" (2016) by David Kaufman  and "Glamour, Glitz, & Gossip at Historic Magnolia House: From the Silver Screens of Hollywood to the Lights of Broadway" (2019) by Danforth Prince

Dick Powell/Philip Marlowe, The Perky Effect

Raymond Chandler seldom painted word portraits of his heroes, perhaps because of the falter in his first story, “Blackmailers Don’t Shoot.” We know what the Chandler hero Philip Marlowe looks like; tall, dark, masculine, attractive to all society types, but if you read closely you will notice that complete as he is, Marlowe's face has no a precise depiction of his features. That wasn’t a problem for Chandler, but it would become one in Hollywood when they took notice of Chandler’s work: What did Philip Marlowe look like? Even Chandler struggled with that, veering from Cary Grant to Dick Powell—Chandler’s favorite, from Fred MacMurray to Humphrey Bogart, but not when he described Marlowe in a letter that made him sound suspiciously like Fred MacMurray and Dick Powell, with a bit side of Robert Mitchum.

Dick Powell is much as we imagine Philip Marlowe, a very bright, very attractive man, a bit shop worn, a bit defensive, and too human for his own good. To that Powell brings a post-war cynicism common to many ex-G.I.s, an ironic voice tinged by sarcasm, and a leery eye toward the idea he is so devastating that women like Claire Trevor will just throw themselves at him, at least without a distinct curve on the act. Brash, ironic, and surprisingly gentle, Powell seemed to find every niche of Marlowe’s character, and would even play Marlowe again of television in an adaptation of The Long Goodbye. Source: mysteryfile.com

Burden of Proof: Hollywood has always been at odds with the truth. Studios love capitalizing on the public’s interest in real-life stories by adapting them for the big screen, but as we all know, real life is too complicated to fit a three-act structure. Concessions are made, whether it be in the form of an imagined character or a shuffling of historical events to reach a more dramatic conclusion. As long as the reshaped story bears a resemblance to what actually happened, and the fictionalized elements are entertaining, studios assume that audiences will be satisfied. Satisfaction becomes elusive, however, when the real-life story has no conclusion. There have been numerous attempts to make films about unsolved crimes, but the thing that makes these cases appealing in theory is the very thing that makes them difficult to adapt. They invalidate the three-act structure. They provide a tantalizing premise without any of the payoff. These films—let’s call them “cold case adaptations”—have been especially prevalent in recent times. 

Of these cold case adaptations, The Black Dahlia (2006) has the most complicated relationship with the truth. The film is based on the James Ellroy novel of the same name, which in turn is based on the grisly murder of Elizabeth Short. The investigation that follows takes a lot of creative liberties, most notably finding a culprit for that infamous crime in January 1947. The real Elizabeth Short was a regular girl with aspirations to domesticity who was living around Hollywood Boulevard. The fictional Elizabeth Short (Mia Kirshner) is at the fulcrum of Hollywood decadence, making stag films and fraternizing with old money when she isn’t performing clumsy screen tests. The Black Dahlia makes no bones about which version is more scintillating, both for the viewer and the fictional detectives assigned to the case. -Noir City magazine (September 2023)

A recent study has proved that seeing and imagining seeing involve similar processes in the brain. This leads to a conundrum: ‘If the brain is treating imagination so similar to how it treats reality, why are we not confusing the two all the time?’ says Nadine Dijkstra, a cognitive neuroscientist at University College London. In a modern-day exploration of what’s become known as the ‘Perky Effect’, published recently in Nature Communications, Dijkstra and her colleagues asked more than 6000 people to look at a static-filled screen, to imagine diagonal lines on the screen. As the experiment went on, similar to Perky’s study, the researchers secretly introduced real diagonal lines, to test how it affected what people thought they saw. Dijkstra says their findings imply that people check what’s real and what’s imagined against a ‘reality threshold’, in a process called 'perceptual reality monitoring.' Dijkstra found further evidence of this principle by re-analysing one of her earlier brain-imaging experiments: when study participants imagined seeing something, their brains showed similar patterns of activation in the visual cortex as when they were looking at that same thing, but the activation was generally weaker. This means that people who have very vivid mental imagery could find distinguishing between reality and imagination more difficult; there has been some association between having vivid imagery and an increased likelihood of experiencing hallucinations. Source: aeon.co

June Allyson's advice to young girls

The reason I dare to cry out, “Stop kidding yourself, girls” to every teenager is that I know what I’m talking about. When I was in my teens, I had to learn the hard way how to get on speaking terms with personal happiness. The teens can be such a miserable experience. Mine often were. I know from the letters that so many of them write me that they are a having bad time. So let me tell you, that doesn’t have to be. If you will just get wise to what is your own personal self, you’ll be able to have the world on a string. You can be happy as Christmas 365 days a year if you will just get your thinking in the right channel. And remember that nobody—but nobody—makes you a droop but you. It’s all a matter of not kidding yourself. It’s all you. As the song says, you are the one. I used to kid myself, just as much as you probably do, when I was in my teens. I used to dream. I seldom “did anything.” 

I used to have elaborate daydreams about the rich, handsome man I’d marry, the big house I’d live in, the comforts I’d have. Fantastically enough, I achieved all that. For instance, the other evening, my husband Richard came home and gave me a present. It was a diamond in a most unusual setting. A shadowbox of gold had been put around the stone to make it glitter even more brilliantly than it would have naturally. Now it wasn’t our anniversary or anything. Richard and I try to make every day a cause for celebration. So whenever I open a box and saw the lovely presents, my thoughts wandered back to my teens. At that time I would have wanted the ring for the ring itself. Now I was happy with it because of the love it expressed. My husband had completely surprised me with it because since I’ve been married my plain gold band was all I wanted. If Richard had brought me a rose, I would have been just as pleased. And this, I think, proves a point: when we don’t keep wanting “things” but learn to appreciate the values we have, the good things are added unto us when we least expect them. You think that you have to be beautiful to be happy? That’s crazy! Just remember that a middle-aged plain woman with a mole on the side of her face, took Edward VIII off the throne of England—and they lived happier ever after! 

The other day I heard Doris Day saying: "Dick Powell is one of the most intelligent, nicest and richest men in Hollywood. Did a tall, beautiful, madly-dressed doll get him? No, Dick belongs to a wonderful gal with a sense of humor and a big heart, June Allyson." Doris is such a sweetheart, we are very good friends. The trouble is when we are growing up, we fool ourselves. We say to ourselves, “I’d be more popular if I were prettier.” George Bernard Shaw, who conceded his first official interview in America to Louella Parsons, said it originally. “Youth,” he said, “is so wonderful that it shouldn’t be wasted on the young.” I can’t top that, but as one woman to another I want to say—why waste your youth? Get wise to the great special gift that life has given you. Part of the reason I am sounding off at this particular time is those terrifying headlines in the papers, telling about high school kids taking drugs. Shocking as these headlines are, overwhelming as the figures on addiction prove to be, you and I have the blessed assurance that in terms of the teen-age population of this country, they are still small. But the very fact that the drug habits have spread to such extent—is a ghastly symptom of the unhappiness too many teenagers are experiencing. Such a habit is the ultimate end in self-deception. It is the absolute summing up of wrong values. It not only drags its victims down into a living hell, but often their families and friends too. The pathos of these addicted girls and boys is that they aren’t “bad.” The touching thing is that they, and their families, have to pay such a killing price just because they have their values all wrong. These unwise kids want a momentary thrill, a purely physical thrill, which, when it wears off, will leave them in such agony as to be almost unendurable. 

But a girl who says, “If I used my brains more, I would be more popular,” you can count on the thumbs of one hand. When I was fifteen and “in love” for the very first—and I was sure the absolute last—time, I thought my life was unendurable because my mother wouldn’t permit me to see that boy morning, noon and night. My mother said, “I absolutely will not you go steady with any boy until you are at least eighteen.” I thought then that she was cruel. I know now that she was right. Memorize this truth: The thing that you want to do secretly, or any act or deed you want to do surreptitiously, isn’t probably the best thing for you. In contrast, think of those wonderful words in the marriage ceremony “in the face of God and this company.” The right things you will always want to do that way. That’s how you know they are right. When those nearest and dearest to you are looking on, you begin on a sure foundation. When we are growing up, we fool ourselves. We tell ourselves, as an alibi, “I’d be more popular if I were prettier” or “better dressed.” Or “had a nicer home.” It took me ages before I realized that to go out every night was idiotic.

Now I know that my happiest evenings are spent at home with my family. It’s just a case of growing up. Once I sang a love song in a night club with the tears running down my face. I thought I had lost a love that was important to me. It was a cold, winter night in New York. I felt so sorry for myself. I told myself I had given “everything” to that love. I would, I told myself, “never love again.” The thing you have to learn about love is that it is inexhaustible. The more love you give, the more love you still have. When you aren’t yet sixteen, you haven’t the experience to distinguish between quantity and quality. You haven’t, I mean, unless you are a lot smarter than I was at that age. Your aim is to be a popular girl. I don’t blame you for that. But what do you mean by popular? Are you getting quality or quantity? Stop kidding yourself. Find your real values. When I see beautiful girls like Hedy Lamarr or Ursula Thiess, I’m amazed I’m on the screen. When I see an actress like Shirley Booth, I ask, “And I get by with acting?” Think of it this way: Do you know everything about any one subject in the world? Or do you know one thing about every subject? Of course you don’t. Nobody does. But every single thing you learn puts you that much ahead. And every kindness you do puts you that much ahead, too. —June Allyson for Photoplay Magazine, August 1953

"The Enchanters" (featuring Marilyn Monroe): James Ellroy's new noir novel

James Ellroy's new novel The Enchanters goes straight to the tragic heart of 1962 Hollywood with a wild riff on the Marilyn Monroe death myth. Los Angeles, August 4, 1962. The city broils through a midsummer heat wave. Marilyn Monroe ODs. The overhyped LAPD overreacts. Chief Bill Parker’s looking for some getback. He calls in Freddy Otash. The freewheeling Freddy O: tainted ex-cop, defrocked private eye, and freelance extortionist. A man who lives by the maxim “Opportunity is love.” Freddy gets to work. We are with him as he falters, and grasps for love beyond opportunity. We are with him as he tracks Marilyn Monroe’s horrific last charade through a nightmarish L.A.— and as he confronts his own raging madness. The Enchanters is a transcendent work of American popular fiction. It is James Ellroy at his most crazed, brilliant, provocative, profanely hilarious, and stop-your-heart tender. Source: amazon.com

Fred Otash was a disgraced former cop turned private eye and freelance menace who worked with the notorious Hollywood tabloid Confidential; he claimed to have hot-wired every bathhouse in L.A., to have spied on Rock Hudson and Tab Hunter, and to have eavesdropped on Marilyn Monroe as she died. Ellroy knew the man (Otash) a little and loathed him a lot. “You don’t go out and wreck lives en masse the way he did with Confidential and retain your humanity,” Ellroy once told an interviewer. In The Enchanters we expect and find redheads and racists, shock and schlock, pearl-gray suits and straw fedoras, weak men and strong women—noir stock types. 

Marilyn is the bait girl nonpareil; no one can touch her. About seven hundred Marilyn Monroe biographies have been published in English alone. There have been biographies by her friends, her foes, her siblings, her household staff, two of her husbands, and two of her stalkers. Norman Mailer didn’t hesitate to publish a glossy art-book appreciation of the actress. In “The Enchanters” she is depicted as a pill-popping, ditzy dilettante, deluded and drunk and self-centered and into some very shady stuff. Here, however, he’s messing with an icon (not to mention two popular political figures, the Kennedy brothers, who met tragic deaths), so the transgressions feel more severe. We get disquisitions on how uninteresting the characters find one another. Freddy on Marilyn: “She worked people. She used people. She possessed three modes of address. She was bossy, she was demure, she was effusive. I didn’t like her. I didn’t get her. Her acting chops and alleged va-va-voom hit me flat.” Monroe, who could have been the book’s making, is instead its undoing—which is, consoling thought, an odd sort of triumph on her part. Source: www.newyorker.com

Glamour, Glitz, & Gossip at Historic Magnolia House: Joan Blondell, Dick Powell

“Joan Blondell was the screen’s sexiest female, and I’ve bedded Ava Gardner” —George C. Scott

At the end of her national tour in the play Crazy October (1959) Joan Blondell had bonded with its author, James Leo Herlihy, American novelist and playwright, who would commit suicide at the age of 66, by taking an overdose of sleeping pills in Los Angeles. Herlihy also directed actress Tallulah Bankhead in the touring production of his play Crazy October. Three of his one-act plays, titled collectively Stop, You're Killing Me were presented by the Theater Company of Boston in 1969. According to author Sean Egan in his biography of Broadway playwright James Kirkwood, Ponies & Rainbows, Herlihy co-wrote the play UTBU (Unhealthy To Be Unpleasant) with Kirkwood but demanded his name be taken off the credits. Herlihy reportedly said to Kirkwood he'd bonded with the legendary Joan Blondell. “Of all the movie stars I’ve interviewed or known, she was that special someone,” he said, “a great lady who’d seen and done it all. I adored her, especially when she came with me to the Magnolia House during her stopovers in New York. In Hollywood, I became her guest. She even cooked for me her favorite vegetables, rutabagas mashed with potatoes.” 

“The reason I agreed to take the second lead in Crazy October was that it gave me the chance to work with the great Tallulah Bankhead,” she said. “But after I joined the cast, I was terribly disappointed in her. She appeared on stage drunk most of the time—one of the most unprofessional and foul-mouthed actresses I’ve ever starred with. After our first tryout, she realized I had the better part, and was getting the most laughs, and she resented me for it. I’d been cast in the play as an over-the-hill actress, remembering the loves of yesterday that seemed to have been blown away by the summer wind. And as the tour moved on, I became more sympathetic to Tallulah. She was a lonely and depressed woman, staging a kind of last hurrah.” “Crazy October was anything but a masterpiece, but we soldiered on,” Joan added, “playing to packed houses. We found our most receptive audience in San Francisco. Tallulah was virtually a gay icon there.” 

“We toured everywhere,” Blondell said about her nomadic childhood. “My father even took us to China. My big number was called ‘In a Rosebud Garden of Girls.’” With her itinerant family, Blondell had spent six years in Australia before moving to Texas, where in 1926, she became “Miss Dallas.” “A year later, I almost became Miss Universe,” Joan bragged, “and I was fourth runner-up representing the Lone Star State in the Miss America competition.” James Cagney was one of Joan's fervent admirers. “She looked like a tootsie, so I called her Grandma. It was a joke, of course. She might have gotten better roles than the stuff that Warners dished out. I don’t mean she could have played Lady Macbeth but she might have made a fine dramatic actress. Jack Warner cast her as a floozie, a gun moll, a gold digger, or as the sister of the leading lady.” Blondell was cast with Barbara Stanwyck in Night Nurse (1931), playing the star’s insolent, gum-chewing sidekick. In Night Nurse, Clark Gable, in one of his first films, was cast as an amoral chauffeur. “I swooned when he came on the set,” Blondell said. 

“Gable had such animal magnetism. We shacked up one night. And although he went on to other seductions, he was not gone from my life completely,” she said. After Gable returned from World War II, Joan played the third lead in his comeback picture, Adventure (1945), co-starring Greer Garson. As an airplane pilot, Gable had flown dangerous missions over Germany. He told Joan, “Hitler wanted me to be captured alive. As I was told, he planned to exhibit me nude like a caged animal, mocking my image as King of Hollywood.” “On the screen, Greer Garson was his lover, but she and Clark had no chemistry at all,” Joan said. “Offscreen, he made love to me, not Greer.” 

“Clark adored women but not in a lechy way. He worshipped beauty. His eyes would sparkle when he saw a beautiful woman, and he’d set out to get her. Usually, he succeeded. When he grinned, you melted. He had the hormones of any gal working overtime unless she was dead, and then I’m sure he could have revived her with a kiss.” In the late 1940s, during her marriage to the movie producer Mike Todd, Gable phoned Joan and set up a private dinner with her. He’d heard how awful Todd was, and he urged her to divorce him. “Even though she’d died in an airplane crash in 1942, Clark was still mourning the loss of his wife, Carole Lombard.” “I found that he was very lonely, so I kept inviting him over when Mike was away. I still remember those juicy steaks he brought from his ranch and even fresh milk for me.” “On occasion, he said I was the only woman in Hollywood who reminded him of Carole. One night, he even proposed marriage, but I turned him down—imagine, me turning down the great Clark Gable. 

But I did. I told him that no other woman, not even me, could replace Carole Lombard in his life.” In Adventure (1945), a romantic drama made a few months after World War II, Blondell played a slightly giddy blonde who goes for sailors, particularly Gable. Motion Picture Herald called her “a sheer delight.” Bogie escorted Joan to the premiere of Night Nurse and later spoke about her to his best friend, actor Kenneth McKenna. “She’s my kind of broad. I like her tremendously, but I’m not in love with her. Besides, Dick Powell is always knocking on her door.” Joan's father was one of the original “Katzenjammer Kids,” based on the popular comic strip. Both of her parents, Ed and Katie, were eccentric vaudevillians, hitting the stage in elaborate costumes with a carefully rehearsed schtick. The four of them, including sister Gloria, toured Honolulu, Australia, and New Zealand. Joan remembered the white sand beaches of Hawaii, running through a rice field wearing only a bra and a “shredded wheat skirt.” In Australia, she briefly fell in love with the son of a hotel manager, but the family kept on moving. 

In Three on a Match (1932), Joan was pleased that Bogie was also in the cast, which otherwise starred Bette Davis and Ann Dvorak. In the late 1920s, Davis had been her classmate when they attended the Robert Milton/John Murray Anderson Theatre School in Manhattan. On the set of Three on a Match, Davis approached her. “I’m miffed. Your part is better than mine.” The balance eventually swung in Davis’ favor. In 1934, Davis, not Joan, was selected as Cagney’s co-star in Jimmy the Gent. Adding to the perception that Davis was supplanting Joan in box office appeal, Bogie, too, would make several pictures with Davis, notably The Petrified Forest in 1936. On the set of Big City Blues (1932), Bogie told his co-star Joan: “I’m pissed off that Mervyn LeRoy has given me such a small part. I’m a leading man, not a bit player.” Bogart later told LeRoy, “The only good thing about working on this turkey is that I can resume my affair with Blondell.” 

In Big City Blues, Joan was cast as Vida, a street-wise Manhattan gold digger who’s tangled with too many Stage Door Johnnies through her day. Her fourth appearance with Bogie—or fifth if you count that 1930 short Broadway's Like That, also featuring Bogie's second wife Mary Phillips—was the romantic comedy Stand-In (1937). Joan played a character called Lester Plum, a cheerful former child star cast in the film as a stand-in for the actual star. Born in Pasadena in 1892, George Barnes had been nominated for an Oscar at the dawn of the Academy Awards for his work on The Devil Dancer (1927), costarring Clive Brook and Gilda Gray, before the movies had learned to talk. Over the course of his professional life, Barnes would be nominated for his cinematic skill a total of eight times, but he won only once for Alfred Hitchcock’s Rebecca (1940), co-starring Laurence Olivier and Joan Fontaine. Joan recalled: “At last, George started to notice me. One day, he told me he was working diligently to capture my beauty on camera. What actress wouldn’t love a man who told her that? We began to date. Was I impressed! Hollywood was a small town in those days, and an important guy like George knew all the Hollywood elite.”

“During our second date, he took me to a dinner party at the home of Ronald Colman, one of my screen idols. A suave, English gentleman with that seductive voice and those impeccable manners. One by one, Miss Nobody from Dallas was hanging out with all these big stars. No one was a bigger name than ‘The Great Profile’ himself, John Barrymore. He invited me for a walk in the garden. Over the next few weeks, as George and I dated, I also met George Arliss, Wallace Beery, Ruth Chatterton (a big snob who insisted she be billed as Miss Ruth Chatterton), Adolphe Menjou, and even Slim Summerville—that ugly former Keystone Cop was the least likely movie star ever to hit Hollywood! My favorite times with George were private dinners alone with him.” After his divorce came through, Barnes and Joan were married in January of 1933 in Phoenix, Arizona. In a bizarre fit of indiscretion, Joan’s father, Ed Blondell, told Barnes that Joan, at the age of eight, had lost her virginity backstage in an accident involving the jagged edge of a costume trunk. It kind of sounded suspicious in my book. A month after their wedding, Barnes stridently insisted that he did not want to have any kids with Joan. 

Joan sighed: "I refused to have another abortion, and our son, Norman, was born. But George was indifferent to him. Later I had a daughter with Dick Powell. We named her Ellen, and she took after her father. Dick adopted Norman and we changed his name to Norman Powell. George never got over the resentment of my giving birth to our son,” she said. “He often fought with me, insisting that I loved Norman more than I loved him. It was dreadful.” Suffering mental troubles, the great cinematographer fought with directors whenever he insisted on filming Blondell “only from the neck up.” Joan was strolling toward the Warner commissary when she encountered her future second husband Dick Powell. Both of them were new to the Warner Brothers’ lot. They struck up a conversation, and Powell invited her to lunch. She found him “amiable, boyish, and bursting with energy.” Born in Arkansas in 1904, he had dark, wavy hair and cute dimples. He’d been an adroit crooner and a band-leader before landing a contract at Warner Brothers. 

As one critic had claimed, “Dick Powell’s most lasting image is still that of the wide-eyed hoofer, face alight with joy, tunneling through the splayed legs of Busby Berkeley’s chorines in 42nd Street (1933).” Another critic referred to him as “Warners’ crooner-in-residence glowing with a kind of gosh-and-golly ebullience.” Joan didn’t know at the time of their inaugural meeting that she’d costar with him in so many movies. After an unsuccessful first marriage to Mildred Maund, a childhood friend, Dick Powell would eventually become a fixture in the bedroom of legendary comedienne Marion Davies, the mistress of William Randolph Hearst. Powell would go from there to seduce Ginger Rogers, his co-star in 20 Million Sweethearts (1934). Mary Martin and Evelyn Keyes will each lay in his future conquests. Gold Diggers of 1933 became the most famous Depression-era musical. In it, Busby Berkeley directed a swirling kaleidoscope of all-girl dancers who was reviewed as “intoxicating.” Joan rendered her most stirring song, “Remember the Forgotten Man,” with 150 male extras cast as hobos unfairly thrown out of work. It was later defined as "the most socially compelling of any song to emerge from the Great Depression." 

Dick Powell appeared with Joan again in Footlight Parade (1933), featuring James Cagney as the hoofer star. Some critics have hailed this movie as “the best of the Depression-era musicals.” The romantic leads were played by Dick Powell and Ruby Keeler. Along with Adolphe Menjou, Joan was given top billing in Convention City (1933). Dick Powell, along with Mary Astor, was a supporting player. Joan didn’t want to make the picture, but Jack Warner threatened her with suspension. Back on the lot, she was grateful to be reunited with Powell in yet another movie. “He was looking better and better every time I saw him,” she said. “I kept wondering if he and I might hit some high notes.” Convention City ran into trouble with the newly formed Production Code, its board members interpreting the characters as “amoral.” Joan fought with Warners until the studio raised her salary to $1,600 per week. In Colleen (1936) Joan was cast as Minnie, “an adenoidal, chocolate-dipping swindler,” as the script defined her character. By September of 1935, Joan and Powell were dating steadily, and her divorce from Barnes came through on 4th September, 1936. 

The press took notice of the odd pairing, giving echo to some insiders who maliciously called them "Floozie and Dopey". But Powell was no dope, as his career as a producer, director and as a tough guy star would prove later. “We rushed through the shoot because we were to get married in a yatch wedding on September 11, 1936.” During filming of Stage Struck, she fell and “nearly broke my ankle,” Joan claimed. “And my darling crooner came down with a case of laryngitis.” Hundreds of their fans showed up for their wedding. But after five years of marriage, and finding that they had vastly opposite personalities and tastes, Powell and Blondell began to drift apart. “We were married for seven years, but he was more like a friend to me in the end. Eventually, Dick and I slept in separate bedrooms. He spent more and more time in his study, working in his real estate business and listening to Bing Crosby, my former co-star when we’d made East Side of Heaven [in 1939 for Universal]. I suspected that Dick was having a fling on the side, that's the reason I fell into the arms of Mike Todd.” 

Joan’s final co-starring roles with Powell were at Paramount in the aptly named I Want a Divorce (1940) and Model Wife (1941). “I think Paramount was trying to tell me something,” Joan laughed. “They didn’t invite me back for the next twenty-five years.” As the war-torn 1940s rolled in, many of Joan’s rivals from the 30s had evolved into big stars: Barbara Stanwyck, Ginger Rogers, and the Warner Brothers' queen Bette Davis. “During my marriage to Dick, our best friends were Ronald Reagan and his wife, Jane Wyman. We dined with them either at their home or at our house once a week,” Joan said. “Dick and Ronnie always talked politics, while Jane and I caught up on Hollywood gossip.” As her marriage continued to unravel, Joan saw less and less of her husband. She learned that he was slipping around and seeing June Allyson, being billed at the time as the “America’s Sweetheart,” usually opposite the gay/bisexual actor Van Johnson. Soon, Powell and Allyson’s affair became more visible, in part to their many appearances as a loving couple at the Mocambo, Ciro’s, Chasen’s, and Romanoff’s. Joan’s divorce from Powell followed her appearance in court on July 15, 1944. “Actually, as the years went by, I began to feel sorry for Dick for having married that Whimsy-Pooh woman, Allyson.  

And I felt sorry for her, too, because Dick was too controlling and scheduled. I kept up on the gossip. Allyson even had an affair with John F. Kennedy.” During their marriage to Powell, Allyson seemed to have flirted with some of her leading men, notably Peter Lawford when they made Good News in 1947 and James Stewart when they shot The Glenn Miller Story in 1954. Allyson fell in love with Alan Ladd (one of her life's most important affairs) and supposedly carried on with Dean Martin during a wild weekend in Las Vegas, according to Confidential magazine. Probably Blondell was prone to imagine that Powell and Allyson would maintain affairs on both sides in their marriage, since Joan's marriage to Powell had been affected by mutual infidelity, but Allyson insinuated that Powell could never have accepted infidelity on her behalf. And Allyson said she never found evidence of Powell's infidelity, either. Actually, Powell was an old-fashioned man and Allyson had to learn to rein in her impulsive nature. In fact, their marriage would be very different from that of Powell and Blondell, where there had been reports of mutual infidelity, Blondell supposedly having affairs with co-stars Bogart, Clark Gable, and John Wayne. 

Powell had been romantically linked to Rosemary Lane (his co-star in Hollywood Hotel and Varsity Show). There was always bad blood between Blondell and Allyson. But, as so often happens in Hollywood, rivals get cast in the same picture. Such was the case when Joan & June starred together in The Opposite Sex (1956). In spite of their failed marriage, and despite the forceful objections of June Allyson, Joan eventually attended Powell’s funeral on January 2, 1963. Mourners reported that Joan was teary-eyed at the services, and that she was greeted by Richard and Patricia Nixon, James Stewart, Walter Pidgeon, Barbara Stanwyck, and Ronald Reagan, among others. Some eight hundred mourners, including part of the elite of Hollywood. 

“I’ll never marry an actress,” Mike Todd, the theater and film producer, had once claimed. “To live with an actress, you gotta be able to worry about her hair. When her bosom starts to drop, she gets panicky. You gotta pay all those bills from the headshrinker.” Obviously, Joan Blondell and Elizabeth Taylor changed his mind about marrying actresses. In film history, Todd was known mainly for the 1956 release of Around the World in 80 Days. Its all-star cast included, among others, Frank Sinatra, Marlene Dietrich, David Niven, Cantinflas, and a cameo by Evelyn Keyes. Joan Blondell also talked at Magnolia House about the unhappy trajectory of her marriage to Mike Todd. In 1943, Joan—married at the time to Dick Powell—began to know Todd more intimately. She thought that Damon Runyon’s description of him was accurate: “A short, chunky and dark kind of guy, a human dynamo with a big cigar hanging out of the corner of his fast-moving lips, spitting out orders to his flunkies.” —Glamour, Glitz, & Gossip at Historic Magnolia House: From the Silver Screens of Hollywood to the Lights of Broadway (2019) by Danforth Prince

Sunset Boulevard, Strange Girls: Betty Hutton

Sunset Boulevard had a strong impact on me, and perhaps that is why I still have the script, the only one I have ever kept. When you read it today, you realize the particular art form that making motion pictures is. The strong feelings this film evoked from people in the industry demonstrates how powerful it was. It is so rare when a story hits exactly the right notes and touches on all the right nerve centers. There was a famous moment after a small private screening that Louis B. Mayer attended. Mayer stood up and walked over to Billy and shouted, “How could you do this to us?!” Billy turned to him and said, “Get over yourself!,” and walked out. This film tells the brutal truth about a part of the motion-picture business and how it can ruin one’s life. To be exploited for other people’s profit can be both painful and humiliating. Even though one is paid a great deal, and receives tremendous ego-fulfilling rewards, to be portrayed as larger than life is distorting and destroys the delicate balance between reality and fantasy. At the time, creating stars sold tickets. The studios were constantly hyping the qualities that created an irresistible commodity. This was particularly possible when someone had not only all the tangible and obvious assets (beauty, personality, talent, etc.) but also the most important quality of all, vulnerability. A perfect example was Marilyn Monroe. 

Empowering vulnerable people in the movie industry is as irresponsible and contemptuous as our current political parties empowering ignorant and angry citizens. What distinguishes an attempt to create a work of art from the actual creation of a true work of art that everyone understands? Everything that has been written, painted, or composed was to share an understanding of a unique view of life, to interpret and explore it—to expose it, and perhaps ultimately to embrace it. In other words, a great work of art reveals the truth. Charlie Feldman was a brilliant and enigmatic man, a Hollywood agent whose most famous clients at Famous Artists included Gary Cooper, Marlene Dietrich, Preston Sturges, Howard Hawks and Lauren Bacall. Feldman invited me to a party where I met our future president JFK.

Jack Kennedy was the quintessence of cool. I enjoyed talking to him that night; I loved speculating about politics. Although I persisted, who was I to have an interesting or worthwhile opinion? I was, after all, some little doctor’s daughter from the Midwest, an actress under contract to a studio. I don’t mean that he wasn’t interested in us (women), but it was rather like the overwhelming craving for chocolate. Once he had that rich piece of chocolate fudge, he could then go on with the real craving in his life, which was an incredible ambition deftly pursued and attained by a unique and visceral intelligence. That combination, along with a sense of this country and where we should be in the world, was what I always thought was his core and understanding of his destiny. I challenged him with the kind of conversation that was barely polite, but I couldn’t help myself. I told him that I knew what he was thinking and where he wanted to land. I said quite fearlessly, “I know what you’re after! Jack Kennedy—you want to be president someday!” He was sort of taken aback with this conversation, but I felt he was fair game. I can only assume that several years later when our mutual friend Chuck Spalding mentioned my name to Jack, Jack’s response was, “You always did like strange girls!” 

Perhaps this is the place for me to describe Marilyn Monroe, which is a daunting challenge almost impossible to execute. One evening I was invited to a small cocktail gathering at 20th Century-Fox with some producers and a group of young up-and-coming actors being groomed for screen stardom. I was there for about twenty minutes when I noticed everyone turning and watching a young woman making a somewhat awkward and yet utterly fascinating entrance. It seemed clear to me that she was terrified, even knowing that she was making an incredible, if somewhat bizarre, impact. But her voice and what she said made the greatest impression on me. She talked like a little baby—cooing, beguiling, pleading, flirting, hanging onto the arm of the person she was talking to. I was always intrigued with her as her career developed and blossomed into superstardom. I never forgot her vulnerability and wondered what would become of her. The next time I saw her was years later at a large party at the home of Paula and Lee Strasberg on the Santa Monica beach. Marilyn wanted to become a more serious actress and had been working with Lee Strasberg, who was the leading drama coach of that time. She was now married to Arthur Miller, the renowned American playwright, a union I could never quite understand. When she saw me, she recognized me and, holding onto her husband’s arm, cooed, “Daddy, it’s Nancy Olson! You remember her from Sunset Boulevard.” I always think of Marilyn with great sadness—a tragic figure who haunts us all.

Alan Livingston and I were invited to many parties for the Reagans after their return to Los Angeles. As thrilled as everyone was to be with the Reagans, I was surprised that I was always the one left talking to Ronnie. He loved telling stories, and he loved an audience, but his friends had heard the same stories repeated again and again. They gave him a warm greeting and then left me alone with him, making their getaway as quickly as possible. I must have heard one particular story about building a fence at the Reagans’ ranch about ten times. I think my gift for reacting as if I were hearing the story for the first time was one of the reasons Alan and I were always included at their parties. ―A Front Row Seat: An Intimate Look at Broadway, Hollywood, and the Age of Glamour (2022) by Nancy Olson Livingston

Film critic James Agee, and other scribes at TIME, described Betty Hutton variously as "rubber-jointed," "super-dynamic," "bouncing, bawling," "raucous, rampageous." But Hutton could also find the aching heart in plaintive ballads à la Mary Martin; her versions of "It Had to Be You" and "I Wish I Didn't Love You So" made the top five pop charts. Hutton made it tough on everyone: her audience, her colleagues, her family, and herself. By 17, she had hooked up with Vincent Lopez' band, to which she brought immediate verve. One night when impresario Billy Rose was in the audience, she did one of her madcap routines. That stunt earned her roles in the Broadway musicals Two for the Show and Panama Hattie, where her number was filched by Ethel Merman on opening night. Betty's revenge came eight years later, when she played a role Merman had originated onstage: Annie Oakley. Hutton found a valuable patron in the Broadway songwriter Buddy De Sylva. When he was named Paramount's production chief, he took Hutton to Hollywood and made her a star. Rather, she did it herself. He just turned the cameras on her. 

Which was easier said than done. Directors complained that she was too peripatetic to keep in view. According to the TIME cover: "De Sylva had a camera dolly rigged up and told the director to follow her all over the set if necessary." The film frame was a cage she was bound to burst out of. This extreme-rendition style went against the grain of the Hollywood '40s, when actors tended to whisper their threats and endearments. Not Hutton: she stuck her face into the nearest klieg light and shouted her lines and lyrics, cascaded all that talent and adrenaline. It's hard to find a Hutton equivalent among her contemporaries, let alone now. Martha Raye did a lot of broad comedy, but without Betty's fresh-scrubbed glamour. Doris Day was another band-singer blond gone Hollywood, but with a more conventional softness. June Allyson, who had been Betty's understudy in Panama Hattie, was remodeled into an odd mix of charm and domesticity. Betty had the whole package. She was a Nobel-dynamite-winning thrush, an appealing actress who excelled in comedy and, if a director could just tamp down her pile-driving instincts, drama. TIME, searching for the portmanteau mot juste,  hatched a new one: "cinemusicomedienne." 

One of her biggest mistakes is when she turned down the role of Ado Annie in “Oklahoma”. Hutton later regretted turning down the role when she saw Rogers and Hammerstein were personally overseeing the film, which  really could have jumpstarted her career. Though she loved her children, Hutton said she never should have tried to maintain both a career and her family. Hutton was one of the Hollywood stars who seemed endlessly creative in finding ways to hit bottom. Her motto might have been the Johnny Burke–Jimmy Van Heusen novelty number she sang in the movie Duffy's Tavern: "I Have to Do It the Hard Way." In 1949, Buddy DeSylva had a plan to star her in a movie version of the silent vamp Theda Bara but Betty turned it down, in spite of her devotion to the producer. Increasingly beset with personal problems, a stubborn and expensive perfectionist, Betty found her confidence crumbled when Buddy DeSylva had a fatal heart attack. 

“Buddy guided my career at Paramount,” Betty told years later, with tears in her eyes. “When he died, the world stopped for me. That’s when they first started bringing in independent producers. They divorced the theatres from the studios. Now comes the uncreative people that got money, they got stations (whatever), but what do they know about creative people? Nuthin’! Most of the major studios. . . they have been bought up by multinational corporations and have become subsidiaries. For example, Warner Bros. became a subsidiary of Kiddie Leisure and had questionable ownership itself linked with certain unseeming areas. Paramount, a subsidiary of Gulf + Western, that multi-national corporation which controlled much of the economy of the Dominican Republic and owned vast numbers of oil shells off the coast of Vietnam during the war. As terrible as the old movie moguls were, at least they were movie makers. Now, it’s all into the corporate suites and the skyscrapers of the New York bankers. They’re the ones who make the decisions.” —Source: Rocking Horse: A Personal Biography of Betty Hutton (2016) by Gene Arceri

"Life Among The Cannibals: The Life and Times of Marilyn Monroe" by David Marshall

‘There are no second acts in American lives,’ F. Scott Fitzgerald once wrote – and he should know. Like James Dean and Marilyn Monroe, Fitzgerald’s flame burned brightly, but was all too soon extinguished. David Marshall’s first book, The DD Group (2003), confronted one of the mysteries of the twentieth century – why did Marilyn Monroe die alone in her bed on a Saturday night in 1962, at the age of 36? While not claiming to know the answer, Marshall traced all lines of enquiry, adding his own commentary to the diverse findings of his discussion group. Now, in Life Among The Cannibals: The Life and Times of Marilyn Monroe  (August, 2023) Marshall asks another question – if Monroe had survived her overdose, how would her life have progressed? Would she have continued along the road to self-destruction, or found a path to fulfilment? The book’s title evokes the cut-throat atmosphere of Hollywood, where Monroe made her name. Shortly before her death, Marilyn reflected, ‘Everybody is always tugging at you. They’d all like a chunk out of you… but you want to stay intact and on your feet.’ Marshall’s narrative treads a tightrope between past and present, fact and fiction. He places himself, unobtrusively, within the narrative through a chance meeting with Marilyn at Joe DiMaggio’s funeral in 1999. Marshall then acts as her biographer, covering the period from 1962 to 2003. He begins by waking Marilyn from a coma in August 1962. She dismisses her entourage of shrinks and drama coaches, and stops taking so many sleeping pills. 

After completing her next movie, she surprises her bosses by leaving Hollywood for good. Marshall depicts a woman no longer ruled by stardom, finding renewed success on her own terms. Marilyn re-establishes herself as a leading character actress, and takes control behind the scenes. Turning to private affairs, Marshall explores a possible reunion between Marilyn and her former husband, Joe DiMaggio. Sceptics have argued that DiMaggio was too jealous, and staid, to satisfy Marilyn for long. Nonetheless, his enduring love for her has been confirmed by numerous biographers and friends. Some readers may wonder if Marilyn really had the willpower to beat her demons and turn her life around. However, the tragic aspect of Monroe’s life has already been recognised, whereas her capacity for survival has not. Marshall pursues this prospect in depth and writes about Monroe with sensitivity. Life Among The Cannibals is an important addition to the wealth of speculative literature on Monroe, because instead of mourning what was lost, Marshall celebrates what might have been. In this highly entertaining book, Marshall gives Marilyn Monroe the second and third acts she surely deserved.

David Marshall: "There’s her stunning beauty of course – I think that’s always been the starting off point for everyone. It’s very true that it is nearly impossible to notice anything else once she’s on the screen. But the inspiration for me and the continuous hold, that came from forming an idea of the type of person she was, her actual character beyond the physical attraction. Hers is a story of an incredibly strong will overcoming exceptional obstacles–and not only persevering but reaching the very pinnacle of her profession. Add in basic human kindness, compassion and empathy, and quest for self-improvement, and you’ll just start to understand why this woman should be held up for emulation. Of course she was also very human and far from a saint. Her continuing appeal, even for those who know nothing of the real person, I think, comes from the simple fact that she is incredibly fun. You can’t help but smile when seeing her image. Even though you are looking at a movie that is seventy years old, the appeal is timeless and contemporary. Fun, beautiful, and timeless. But that’s just scratching at the very surface of her appeal." Source: themarilynreport.com