Esther Brodelet

Many pretty girls have completely wrong assumptions when they come to Hollywood. They think that good looks can get them to the top – since this hardy ever happened, after a couple of months or years they would leave Hollywood mostly unhappy, with bitter feelings towards the studio system that never gave them a chance to shine.  While the system was inherently flawed for sure, it was much better to simply accept the fact that only 3% of all screen players make a name out of themselves – other just scrap by from movie to movie but can still lead a happy and fulfilling life. Esther Brodelet knew this and wisely shunned any try to become a star, wholly realistic and truly satisfied to remain a chorus girl. Also as a special bonus, she had her own side job which poured in some decent money – kudos to Esther! Let’s learn more about her.

EARLY LIFE

Esther Brodelet was born on December 7, 1906, in Chicago, Illinois, to Francois and Anna Brodelet. Her father was Dutch (his mother was born in India, interesting lineage!), working as a cook at a restaurant where her mother (herself a daughter of Danish immigrants) was the waitress. In future years Esther would shave almost 10 years off her birth date – even her tombstone claims she was born in 1916. However, 1906 is the correct date, as her father immigrated to the US in 1902 and married her mother in about 1904.

The family lived as lodgers in a hotel when she was born. Her parents divorced in the mid 1910, and Esther and her mom lived in Los Angeles, where her mom ran a club house and put up accommodation for lodgers. Esther grew up in Los Angeles and started dancing at an early age, working as a dancer and chorine from the mid 1920s.

In 1932, she won a Fox film contract in a test that included more than 1,100 applicants, signed a contract and of she went!

CAREER

Esther began her career as a chorus girl, and appeared in a string of musicals – the weird, offbeat SF musical It’s Great to Be Alive, the light fluff Arizona to Broadway (not a musical, I admit, but heck!), one of my favorite Joan Crawford movies, Dancing Lady (boy, when Franchot Tone bought a whole theater just to see Joan dance, I melted! What a movie! Not high art or anything, but a girl can dream can she?), and the no-plot-no-brain-lots-of-fun George White’s 1935 Scandals.

Next Esther appeared in the completely forgotten Redheads on Parade. Likewise was Piernas de seda, a Spanish movie made in Hollywood. Esther get got a step up by appearing in movies at least sometimes mentioned today – Girls’ Dormitory is only famous for being an early Tyrone Power movie, but hey, at least somebody heard of it! Plus Herbert Marshall, oh man! He was the epitome of class and charm back then!

Esther was again a dancer in Charlie Chan on Broadway, one of the long running Charlie Chan movies. Ditto for her next picture, The Baroness and the Butler. The movie actually has a good story (taken from IMDB): This is a charming film set in Hungary, about a butler, Johann Porok (William Powell) who works for the Prime Minister (Henry Stephenson). The prime minister and his family, particularly his daughter Katrina (Annabella) are shocked when Johann is elected to Parliament – by the opposition party. What’s more, he wants to stay on as butler. Meanwhile, Katrina’s philandering husband (Josef Schildkraut) has a few political ambitions of his own. What to say? Powell could play roles like that in his sleep – and Anabella is absolutely gorgeous. While not a top actress not a great beauty, she has plenty of charm and knows how to work the camera. And I adore Joseph Schildkraut. Truly a wonderful actor, at best playing elegant schemers.

Esther became a model for her next movie, Thanks for Everything. a lackluster social farce about a sap who has the special talent of predicting stuff – and then the corporations are after him. Notable only for the role of Adolphe Menjou – otherwise avoid (the sap is played by Jack Haley and just meh!). Then came The Story of Alexander Graham Bell, a well-known classic that needs no introduction. Esther finally caught a credited role in Young as You Feel, a Jones family movie (and completely forgotten one!). Then came Lillian Russell, a solid biopic of (you guessed it) singer Lillian Russell, played by Alice Faye. Henry Fonda gives handsome support 🙂 Unfortunately, her next movie, Girl from Avenue A, is completely forgotten. But then came Brigham Young, a movie well-regarded today – while not a beloved classic like some other epics, it’s a very nicely done film – good production values, good cast (Tyrone Power, Linda Darnell,), everything done as it should. However, it is historically inaccurate, but that’s 1940s Hollywood for you!

Esther was then one of many chorus girls in Tall, Dark and Handsome, a pretty good gangster parody with Cesar Romero as a gangster with a heart of gold. Good stuff! Esther than appeared in the Fritz Lang classic western, Western Union. She came back to musicals with That Night in Rio – this one has a cliché plot (an actor impersonates a wealthy count and in the process seduces his wife), but the actors are all earnest and funny – Don Ameche, Alice Faye, Carmen Miranda and so on. Footlight Serenade is the same old musical – thin plot but plenty of good music and pizzazz. Ditto for Around the World. Esther then had a minor role in the Carole Landis penned Four Jills in a Jeep, about the tours four actresses made with USO overseas at the beginning of American participation in World War II. The actresses were Carole, Kay Francis, Martha Raye and Mitzi Mayfair. It’s actually a pretty good movie – just not a great one, but it does have that “based on a true story” extra value. Phil Silvers appears too much as a Sargent chaperoning the girls – and we get cameos by Betty Grable and Alice Faye!

Esther’s last four movies were all musicals: the remake of State Fair, the completely forgettable Mexican themed movie, Mexicana, Do You Love Me  a charming Cinderella themed movie where a matronly college dean, played by Maureen O’Hara, transforms into a glamorous singer and romances DIck Haymes in the interim, and for Esther’s last movie we have Mother Wore Tights, a so-so Betty Grable movie.

And that was it from Esther!

PRIVATE LIFE

Esther gave her beauty hint to the readers in 1934:

To keep my hands fresh and lovely I avoid putting them in water that is too hot or too cold. To keep them from getting dry, I apply a good hand lotion after washing, and massage them with a good tissue cream at night.

Esther worked on the side, as a hoofer at “The Jane Jones Club.” a Los Angeles whoopee asylum. In 1934, she dated William Harrison (Jack to you!) Dempsey for a few months.

Her next beau was William Boyd and Esther Brodelet. They were on and off for quite some time, then they got into a fight, then he left for Europe, then they reconcile, because of his numerous trans – Atlantic talks, finally to break up for good after he got back.

Esther then found an oil king you should be pursued her by buying diamond bracelets and Rolls Royces, but it didn’t lead to the altar.

Esther at one point left for England to appear in movie features made in their production studio at Elstree. She said to the papers:

“Prosperity is going to be reflected in more motion picture musicals, in other words, it will be out of the beanerics and into the best cafes for the decorative members of the tune films.”

Unfortunately, she got no credits from that time so it’s nearly impossible to know what exactly happened.

Durign her long career, Esther always professed a penchant for living a quiet and healthy life, as opposed to the hectic and party living Hollywood life most starlets were leading.

“On the Avenue” strolls Esther Brodelet, attractive tock girl, with the observation that popularity the chorine is to be shunned rather than sought. “Parties cut into your sleep so heavily that you lack the vivacity necessary to show your, best every day before the camera,” she affirms. “Girls who don’t sleep simply don’t stay in the movie. The movie chorine 1 a 10 o’clock girl If she’s smart and want to win a career. “And going out almost every night makes It impossible to keep, the same weight and figure. Irregular hours will do surprising things to you over a period of time.” And that, says Esther, Is the answer to the recurrent question about movie chorus girls and “dates.”

And this quote:

“While most chorus girls make a good salary,” says Esther, who draws her pay on the 20th-Century-Fox lot, “it is almost impossible for us to keep stocked with the gowns and jewelry necessary for party girls. “Entirely aside from the money, parties cut into sleep so heavily that you lack the vivacity you need before the cameras. Sleep and Stay “Girls who don’t sleep don’t stay in the movies.” When she’s making a picture, Esther goes to bed at 10 p. m. So if you’re planning a career as a movie dancer, don’t plan on having your fling in Hollywood. Esther says that’s a good way to be flung out. “

In 1937, Esther dated Douglas Fowley.

Here is a funny anecdote from the time Esther was filming Lillian Russell:

Discomfort and bother even torture such as shown above by Esther Brodelet and Bonnie Bannon, caused four of Hollywood’s film beauties to go on “strike” against the 1890 whale-boned corsets, which the studio insisted they wear all day during the shooting: of scenes for the movie, “Lillian Russell.” The girls, paid $16.50 each day. failed to report to the studio the second day, explaining they were laced so tightly they “couldn’t have swallowed an olive.”

At some point, Esther’s figure that was described as Hollywood’s loveliest. Not content with roles in movies, she decided to branch out in other industries. So, she became a farmer. Wait, what?!!

Oh yes, Esther used her earnings to start a chicken ranch in San Fernando Valley, where she conducts a lucrative off-screen business. Most of the stars at her studio bought the Brodelet brand of eggs at fair but nifty, prices. Here is a short article about with the colorful details:

Chorine Esther Brodelet’s chicken ranch is ‘no publicity gag, although though she owns only one acre, near Van Nuys, it has paid for itself in two years. No simple country lass, she learned about poultry In Chicago and says that, the chicken came before the egg, at least in her case. Seems that when she was a kid, somebody gave her an Faster chick, which in time surprised her by laying an egg. Using a sort of pa rid v system, Miss Brodelet ran it up into seven hens, made them earn her pocket-money. Thriftily, she now keeps two goats on her walnut-planted acre and fattens her chickens for market on milk and nut-meats. She puts personality into her business, ton loads her car with cartons of eggs every morning when she leaves for the studio and delivers them to the customers herself.

Talk about coincidences! Don Ameche and Esther Brodelet, both under contract to Twentieth Century-Fox, and both on their way to the studio to work in “Road to Rio,” tangled automobile on Sepulveda boulevard mile away from the lot. Neither was hurt and Don drove Esther the rest of the way to work.

After a long time of dating in Hollywood (of which we actually have little to no information), Esther married John Martin Amato in 1946. They met during the war when she was entertaining servicemen – he was a mechanic. Now, something about John. He was born on September 28, 1917 or 1920. Here are bits of his life (taken from his Find a grave site):

John was a graduate of Medford High School and Chauncey Hall. Mr. Amato furthered his education and obtained a Mechanical Engineering degree from Tufts University during WWII. Following his graduation, he attended Columbia University Midshipmen’s School and Harvard Communication School. In 1943, the US Navy sent the new officer, Ensign John Amato, to the Port Director Organization, Port Hueneme, California. There he was introduced by his late brother, Andrew J. Amato, to the love of his life, 20th Century Fox contract player and dancer, Esther Brodelet.

Their daughter Valerie Ann was born on July 26, 1948. Their son David John was born on December 19, 1949.  The family lived in Van Nuys then settled in Winchester because of John’s employment. John spent the next 30 years in the service of the developing High Tech defense and space industry where he contributed his intelligence and strong work ethic until his retirement in the early 1980s. After his retirement they moved to Acton, Maine and enjoyed living in such close proximity to the stunning natural sites like hills and lakes.

Esther Brodelet Amato died on December 21, 1989, in Portland, Maine.
Her husband John died on September 5, 2009, in Maine.

Dawn Oney

Pretty Dawn Oney was a local Minnesota beauty that tried to make a career in Hollywood based solely on her looks. Predictably, this failed. Let’s learn more about her…

EARLY LIFE

Donna Mae Frank was born on July 4, 1930 in Mankato, Minnesota. I could not find the names of her parents. When still a baby, she was adopted by her second cousins, Arthur C. Frank and Beatrice Oney. Arthur was a candy salesman and Beatrice was an insurance agent. Beatrice’s younger brother Ivan Oney lived with the family until the early 1940s.

Donna grew up in Mankato and was a precocious child, her principal talent was standing on her head. It was clear from early childhood that Dawn was a stunner – aiming for a better life, she left Mankato for Minneapolis as soon as she graduated high school. She took the name Dawn Oney, became a model and became a sounding success in a very short time-span – for instance, eminent local Minneapolis photographer Anthony Lane frequently used Dawn in commercial work. The earliest photography work by Dawn I could find was in 1949, when she appeared in a short article:

Dawn Oney (right), 3301 Four-teenth avenue S., shows Helen Augustson, 894 Twenty-first avenue S.E., her dress made from the new cotton print sacks being used by the King Midas Flour Mills, Minneapolis. Printed in gay, lively sun-fast, tubfast colors in a wide variety of patterns, these flour sacks are being used for making aprons, playsuits, bathing suits, pillow cases and a variety of other household items.

In 1951, she applied and won a beauty contest conducted by RKO Radio Pictures. The prize was access to Hollywood itself – and she won! She left for Tinsel town that same year, and became one of the tons of movie aspirants picking for stardom.

CAREER

Dawn appeared in only two movies – the first one was The French Line . This movie can either be a total winner or a total loser, depends on what are you looking for. It you want some mindless fun with interesting costumes and passable musical numbers, go for it! If you want a coherent story, great characters and some depth, avoid like the plague. It’s fun, it’s breezy, it’s easy on the eyes and that’s it. Cm-on, the story itself is hardcore “paper thin plots” we can see in so many 1950s musicals – when her fiance leaves her, an oil heiress (played by Jane Russell) takes a cruise incognito in order to find a man who will love her for herself and not for her money. Anyone with half a brain can see that this has no semblance of reality – but who cares, if it’s an excuse to see Russell in a variety of racy costumes (along with a huge chorus line, where Dawn was one of the chorus girls). Russell also sings in her own (very torchy) voice.

Dawn’s second movie was Son of Sinbad. Now, if The French Line was bad, then Sinbad is even worse. If French Line was good, Sinbad can be even better. Truly, for a camp lover who revels in the idiosyncrasies of such a genre, this is pure gold. I mean, just look at the summary: Legendary pirate and adventurer Sinbad is in single-minded pursuit of two things: beautiful women and a substance called Greek Fire–an early version of gunpowder. So, sex, gunpowder and turbans all the way 🙂 As always, the cast is second rate with Dale Roberts and Sally Forest (although Sally had some talent – just sadly she rarely acted in anything worthwhile) – but you can also see the most enchanting of all burlesque girls, Lili St. Cyr, in a more substantial role than usual – she’s wonderful! All in all, typical low quality but majorly fun 1950s Hollywood product, perfect to transport you to another world!

And that was it from Dawn!

PRIVATE LIFE

When Dawn moved from Mankato to Minneapolis, she did not just leave behind her birth town, she also left behind her sweetheart, Carl Harvey Carlson. Carlson was born on March 30, 1929, in Minnesota. Dawn and Carl meet in high school and dated for a few years before she left for Minneapolis and later Los Angeles. Not wanting to be apart any more, they married in about 1949 and Carl followed his wife to Los Angeles.

Their son Daniel “Danny” Bruce Carlson was born on August 12, 1951. However, her marriage did not work out and she divorced Harvey in 1953, citing incompatibility. He went on to work as a mining engineer in Japan, later returned to Minnesota, remarried to Joan Nelson and had two daughters. he died on May 14, 1999 in Minnesota.

After her first batch of movies failed, Dawn tried to revive her career in several ways – she continued to audition and went on modeling. Unfortunately, nothing came of it. So, in 1954, she became Miss Montana. Yes, you heard that right – a woman born and reared in Minnesota became Miss Montana. Before you ask anything, the judges knew that Dawn had a son and was divorced. Dawn was a great crown favorite an it seems she knew how to please them – she was vivacious, gracious and funny. Here is some tidbits about her private life in 1954, taken from an article:

 She now lives in Hollywood with her son. ‘That little boy is the joy of my .lifer” she smiled. “I want four more just like him.” She said she has a boy friend .whom she likes very much but declined to name him. Dawn entered the Miss Universe contest because she wants a screen career, and it is -likely she will get a crack at it, win or lose.

Being Miss Montana did nothing for Dawn’s movie career. I hope she acted elsewhere. However, if Dawn had a claim to fame in the papers, it was about her her unique skills – carpentry! Here is an article from the 1950s about her hobby, written when she was named a Television Venus:

Dawn Oney. the pretty NBC T-Venus is one of the best adjusted and happiest persons I have ever known. She’s a good actress, but that isn’t all, she’s a superb lady carpenter. I asked her if we might take a picture of her with her latest project, which was a group of little animal pull toys she had just completed. It seems she had made these for some little tykes in her neighborhood. “This is the kind of project I like best.” Dawn said. “Each little animal is real easy to build and when they’re finished, they each have a different personality. You’d be surprised at the number of compliments I get when my friends stop in and see my menagerie. Of course the kids are always happy when they get them for Christmas.” Anyone can make little pull toys like the ones pictured which Dawn has just completed. All you need are a few scraps of wood and the full size patterns. Simply trace the pattern on wood, then saw it out and finally put it together.

Unfortunately, Dawn faded bit by bit from the Hollywood scene – she was last seen in the papers in 1971, still a “working actress” (what, where?).

More than 20 years after her divorce from Carlson, Dawn married Gordon A. Frantz on January 9, 1976, in Orange, California. Frantz was born on December 1, 1925, in New York. He was married once before to Dahlia E Guarino. As far as I can tell, the couple lived with two girls, Beatrice and Cynthia Louise “Cindee” (who was born in 1959). I am guessing that Cynthia was born from Gordon’s first marriage, and perhaps they adopted Beatrice. They family lived in Santa Clara and enjoyed a happy family life.

Donna Mae Frantz died on September 12, 2012 in Santa Clara, California.

Suzanne Ames

Suzanne Ames truly is an example of a woman who had a lackluster career in Hollywood but an incredibly rich and rewarding private and professional life outside of Tinsel Town. She really is an inspiration, as you will see int he story of her life…

EARLY LIFE

Suzanne Marguerite Ainbinder was born on December 31, 1931, in Chicago, Illinois, to Myron “Marcus “Ainbinder and Florence Grosse Ainbinder. Her father, a salesman by trade, was born in Illinois to immigrants parents from Poland.

Both Myron and Florence were lovers of the fine arts, and were more than happy when their only child got into singing from a young age – Suzanne her professional debut at age 4 by singing on radio station WGN in Chicago. She was also passionate about dance from the time she could walk, taking ballet lessons. The Ainbinders moved to Akron, Ohio for Myron’s work in 1937. They lived as lodgers with a building contractor and his wife.

Suzanne grew up in Akron and considered it her hometown. She attended Our Lady of the Elms, an independent Catholic college preparatory school immersed in the Dominican tradition for girls grades one through 12 and co-ed preschool through kindergarten. She was a member of the Elms chapter of the National Honor Society at the Elms school since her sophomore year and had the highest grades in her class several years in a row. She had a record of straight A’s and graduated with honors in 1949.

After graduating, she studied ballet and music in Cleveland, being chosen as a protege of ballerina Rosella Hightower. Then she moved to New York.

For a year, Suzanne was understudying four people in the Agnes DeMille musical “Gentlemen Prefer Blonds,” and was offered the dancing lead in the road company of “Call Me Madam.” The Ballet Theater was also after her for its European company. But she turned them all away in favor of her favorite – after auditioning she became a member of the Metropolitan Opera Ballet. She became a leading ballerina, performing not only in operas but at the Met during the regime of Rudolf Bing.

Suzanne’s first real success was a role in The Fledermaus. Here is a brief description of it:

The Metropolitan Opera thinks Akron’s ballet dancer, Suzanne Ames, who’s only 17, is old enough to play a woman of the world. Suzanne, the pretty daughter of Mr. and Mrs. Myron Ames, who used to live at 3 Cyril ter., Akron, but moved to New York, has been as-signed the role of “Ida” In the Met’s April 5 production of “Fledermatis” here. “Ida” is a famous Vienese ballerina who is much favored by the gentlemen, and who educates her younger sister in the ways of the wicked world of the 1800s. . CURIOUSLY, Patrice Mun-sel, a veteran of the Met, will , play the younger sister to Suzanne’s “Ida.” “I thought I’d be playing the part in the road production of ‘Fledermaus’ in Chicago and Rochester,” Suzanne said, “but then I saw my name on the casting sheet for the New York showing.” “Patrice Munsel, who’ll play my younger sister, is about 10 years oMer than I am,” Suzanne, a graduate of Our Lady Of The Elms, in Akron, said.

It was via MET that she got a chance to appear in Hollywood movies, and off she was to Los Angeles.

CAREER

Suzanne’s first movie was the legendary musical that half the dancers appeared in Two Tickets to Broadway. Sorry to say, despite the stellar cast it’s a purely mid tier musical – no big trash nor no big thrill. In view of all the other good musicals to watch, I guess this one is a skip.

Slightly better was The Las Vegas Story, a sultry, heavy film noir with a typical love triangle and interesting actors – Jane Russell, Vincent Price and Victor Mature. No,it’s not a staple of the genre nor a particularly good movie, but it has a strange charm of its own and the actor really work somehow (despite the fact that Mature was an abysmal thespian). Then came a small role in The French Line, the infamous Jane Russell extravaganza with tons of beautiful girls and thin plot. Yep, you can’t say that Suzanne was ta all visible in it, flaked by 100 of other wanna-be starlets.

Suzanne took a short breather from Hollywood, and returned two years later in Son of Sinbad, a typical colorful, happy-go-lucky 1950s costume pastiche. Just mix handsome actors and actresses, lavish sets and sumptuous costume with a hokus exotic story and you have a box office bonanza. Far from any semblance of art, but hey, they made it for the money not the artistical achievement. Her next feature, Kismet, was made in the same vein (Exotic location, tons of pretty girls), but overall it’s a better movie, with a slightly better story and some pretty good musical numbers (and Ann Blyth! Gotta love Ann Blyth!!).

Unfortunately, as time went by, Suzanne’s career didn’t seem to soar, and the quality of her movies never reached a satisfying level. She was in I Married a Woman, a lesser effort for both of it’s stars, Diana Dors and George Gobel. It’s about a cranky middle aged man married to a gorgeous model. Yawn.

It’s sad that Suzanne’s last movie was by far the best one she even appeared in – Bells Are Ringing. The man highlight of th emovie is of course, it’s star, Judy Holiday – she was simply wonderful, so buoyant, bubbly, irresistible, truly one of the most talented comediennes ever to grace the silver screen. She is aptly supported by Dean Martin – and the movie is all about them, their relationship, their singing and dancing. Everything else is just a bonus – but a nice and lofty bonus, with a strong supporting cast, great music and solid (if a bit stagy) direction. A recommendation for sure!

That was it for Suzanne’s movie career.

PRIVATE LIFE

When Suzanne lived in New York as a MET dancer, she said of her life:

SUZANNE finds the life here rigid. She can’t have dates during the week because she must be fresh for the rehearsals at the Met. “I’ve had a few dates with Cesare Siepi. He’s quite young and very nice.”

Siepi and Suzanne dated for some time, but were over by the time she left for Hollywood. When she came to Hollywood and was a Goldwyn Girl, she was five feet seven and one-half inches tall. Weight: 121 lbs, Hips 36 Waist 2o. Unfortunately, her career as a Goldwyn girl and actress never left the ground, and she returned to New York for good in 1960.

Suzanne traveled a great deal with MET, and appeared in a great number of plays. Of her experiences in American cities, Suzanne said:

“Minneapolis is one of my two favorite cities. The other is Atlanta, Ga. People here are so literate. They understand opera and don’t ask silly questions about it; they meet and talk to you as friends.”

Suzanne said countless that she liked dancing in the Metropolitan Opera Ballet, and was proud of the fact that occasionally the Met gives her an opportunity to sing as well as dance. Her dedication to the arts was boundless, but her private life was very scantly covered in the press. Finally, Suzanne married Albert Landry in 1975. Here is a short bio of Landry:

Born on Oct. 9, 1915 in New York City, he was a U.S. Army veteran of World War II, having participated in the D-Day invasion in the European theater. He received his master’s degree in art history from Columbia University in New York in 1948 and advanced studies in painting from Atelier Fernand Leger in Paris, France. An art dealer, historian and consultant, he had served as assistant director for Galerie Villand-Galanis until 1954. He was director of special projects for Associated American Artists from 1954-59 and president of Albert Landry Galleries from 1959 to 1963. He was executive director with the J. L. Hudson Co. and an advisor to the Detroit Institute of Arts.

Mr. Landry was also vice-president of Marlborough Galleries in New York until 1968 when he became adviser and curator for the London Arts Group. He served as publisher and distributor of original graphics and multiples for the Nabis Fine Arts of New York until 1974. An associate for the Gruenebaum Gallery of New York from 1977 thru 1980, he continued working as a private dealer and art consultant for major corporate clients, including Aldon Industries, Atlantic-Richfield, Avon, Ford Motor Co., Smith Barney, International Paper and US Steel. He was also a consultant and associate for Landry-Settles Inc. and the David Settles Gallery Ltd., both of Houston, Texas and was affiliated with Stephen P. Edlich & Co. until 1986.

Suzanne danced until the mid 1970s. Here is a short description of what Suzanne did after her retirement from an active dance career – she stayed in the industry as an knowledgeable insider with much to offer:

After retiring as a dancer, she became an executive of Atlanta’s Performing Arts Center and then head of a U.S. State Department cultural exchange program that established a ballet company in Rio De Janeiro, Brazil. Why? Well, because in 1968, she was sent to Brazil along with Arthur Mitchell and Gloria Contreras by the U.S. State Department at the behest of the Brazilian Ministry of Culture to assist in the establishment of the first National Ballet of Brazil and maintained close ties to the company.

Landry went on to serve as director of General Copyright Administration for Frank Music Corporation, CBS/SK Songs and EMI Music Publishing.

Eventually, she went into music publishing and became a copyright specialist. She managed the administration of Frank Music Corp., Paul McCartney’s publishing companies, and then became a vice president for EMI Music Publishing in New York.

 

A crowning achievement of Suzanne’s life happened when the she established the new Suzanne Ames Landry Performing Arts Studio at the Our Lady of the Elms School in Akron, Ohio, her alma mater, through a bequest of half of her total estate. Truly, Suzanne lived a fulfilling and very active life!

 

Following many years in New York City, she and her husband moved to Saratoga Springs, where they had vacationed for many years. Never the one to sit idly, she continued working in Saratoga Springs:  Suzanne provided volunteer work at the National Museum of Dance and gave many pre-performance lectures at the Saratoga Performing Arts Center. Here is a short description of her volunteer work:

 Suzanne Ames Landry considers the National Museum of Dance and Saratoga Performing Arts Center as Spa City treasures.

She is no less valuable to them as a volunteer, drawing upon her own unparalleled career as principal ballerina with the Metropolitan Opera Ballet.

Whether giving tours or organizing files, she pursues each task with heartfelt enthusiasm stemming from a lifelong love of the arts.

“Anything they want me to do, as long as it’s not fattening, I’ll be happy to do,” Landry said with a laugh. “This is the only National Museum of Dance in the United States. It is a jewel. What it does is tell the history of dance, which is important.”

There’s no need for Landry to read from a text when giving museum tours. She simply relates much of her own personal experience and especially likes sharing stories with children.

“You have to give back the feeling of it,” she said.

She also organizes archives at the SPAC and the Dance Museum.

“Everything has to be filed,” she said. “Not everybody like files. I find it extremely relaxing to get these things in order. Once it’s in order, anybody can find it easily.”

SPAC opened in 1966, and Landry has organized clippings, reviews and programs of virtually every classical and popular artist who’s ever performed there.

“You have to have a library and it has to be a logical one,” she said. “It’s your background and helps you keep going forward. It’s something I find very interesting.”

Landry also instructs dance history classes at the museum. One program, called “Dancing Through Time,” is designed specifically for people ages 55 and older.

She also does historical research for exhibits such as one now showing at the museum called “Classical Black,” a look at black dancers who danced classical ballet.

On June 20, Landry will present a special lecture on “The Evolution of the Firebird Ballet,” including a history of the Diaghilev Ballet Company and notes on choreographers Mikhail Fokine and George Balanchine. The talk is set for 7 p.m. at Saratoga County Arts Council’s building on Broadway.

“That’s what I saw growing up,” she said. “I’ll do anything I can to give something back to this lovely city.”

But at the same time, Landry admits to having a slightly selfish motivation, because her volunteerism keeps events and activities alive that she thoroughly enjoys.

“You’re paying yourself by having these venues,” she said. “If the volunteers don’t help, where are they going to get a cast of thousands?”

Landry is also involved with Lake George Opera Company, which performs at the Little Theater in Saratoga Spa State Park. This summer, she’ll be doing brief talks prior to the production of Mozart’s “Abduction from the Seraglio.”

Suzanne’s husband Albert died on May 13, 2001. Suzanne continued to live in Saratoga Springs and was very active in the local civic life.

Suzanne Ames Landry died on June 6, 2008 in Saratoga Springs, Florida.

Ann Evers

Ann Evers was beautiful, a trained actress, talented and with a ferocious will to succeed. So what went wrong? Unfortunately, this is the million dollar question nobody can quite answer. Let’s learn more about the lovely Ann!

EARLY LIFE

Ann Evers was born as Ann Marie White to John Belvin White and Mary Etta Thomas in North Carolina in 1916. IMDB lists her birth time and place as September 9, 1915 and Scranton, Ohio, but the place is almost certainly false – I also wonder if the date correct. Her siblings were: William, born in 1913, Lilly, born in 1919, and Rose Helen, born in 1923. Her family made a series of moves in 1920, and Ann and her siblings grew up first in Roanoke, Virginia and later Clarksville, Virginia, where she attended high school.

After graduation, Ann studied at the New Orleans Conservatory of Speech and Dramatic Arts and later graduated from the New York Academy of Dramatic Arts.

Ann started her way to Hollywood one day in late 1935, and only because she always read the newspapers. No matter where she was Ann insisted on having a daily newspaper each day and she read nearly every paragraph in it. That is how she found out through a three-line personal item that Ben Piazza, the famous Paramount talent scout, was to be in New Orleans while she was visiting there. She had just graduated from the Academy in New York City – armed with looks, talent and determination to succeed, she went to call on Ben Piazza at his New Orleans hotel, and when she left his room she left it in style – with a contract and a ticket to Hollywood.

CAREER

Let’s be frank, if Ann is to some degree remembered today because of the lo-budget westerns she made. Since you all know how much I appreciate and love such movies, let’s just get on with it: she was in Wells FargoFrontier Town and Riders of the Black Hills.

Now let’s get it on with the rest of her career. She started her odyssey with Too Many Parents, a juvenile movies with members of Our gang shorts playing military cadets. Then she appeared in the okay but completely forgotten Florida Special. Boy, if Florida was forgotten, her next movie, Heliotrop, is even more so (it doesn’t even have 5 ratings on IMDB, and you know what that means!).

Ann’s next feature was A Son Comes Home, the type of movies they don’t do anymore – small-scale, intimate, warm and exceedingly simple in plot (as the title says, it’s about the homecoming of a long-lost son). Actors are everything here, and they have struck gold with a veteran cast of Mary Boland and Charles Hoffman, and a new, fresh-faced cast of Julie Haydon, Donald Woods and Wallace Ford.

Then came My American Wife, completely forgotten despite the solid cast (Ann Sothern, Francis Lederer). Next we have Hollywood Boulevard, an interesting expose of gossip sheets way back in the 1930s. While it’s not a particularly good movie (very badly edited!), the plot is above average and manages to pull the film above the watching threshold. Also a true treat for silent movie lovers – many stars of yesteryear have small roles!

Ann had her first credited role in Anything for a Thrill, a Frankie Darro vehicle, about paparazzi and their quest to get dirt on an heiress (guess who ends up with the said heiress). What can I say, it’s fast, fun and fascinatingly stupid, but hey, you didnt’ watch it to get Shakespeare calibre theater. Ann’s last movie before the string of westerns I already mentioned was Love Takes Flight,

Afterwards, she returned to mainstream movies with Marie Antoinette, the legendary Norma Shearer/Tyrone Power epic. She continued in the same vein with If I were king, an absolute winner with Ronald Colman as Francois Villon. It’s a perfect adventure classic movie – witty script with some depth, great action all around (Basil Rathbone and Ronald Colman), and capable direction. A must watch. Ann finally got a sizeable role in The Mad Miss Manton, a somehow lackluster mystery-comedy with Babs Stanwyck and Henry Fonda in the leads. Considering who’s acting, it’s not a particularly good movie – so sad! It could have been a classic!

Ann’s next movie, Next Time I Marry, was another thin screwball comedy. Mind you, these movies weren’t drop dead bad, just not as good as they could have been. Here we have Lucille Ball playing an heiress who wants to marry a penniless gigolo but due to her father’s will has to marry a plain American guy. And try to guess who the story goes from here. James Ellison plays the plain American guy and he’s actually pretty good in it. Some laughs but as I said, it could have been better.

Ann changed gears a bit with Hawk of the Wilderness, a typical Republic adventure serial with Bruce Bennet in the lead. Compare this to her next movie – the well-regarded Gunga Din! Jumping high aren’t we? This remains Ann’s best known movie, a staple of all classic adventures movies. Why? As one reviewer noted on Imdb: It has everything – a good script, a good story, epic sweep, fantastic acting, inter-character chemistry, charisma, pacing and coherency. And Cary Grant thrown into the equation. Whozza!

Ann’s last movie for RKO was Beauty for the Asking, a below average comedy elevated by a great female cast – Lucille Ball, Frieda Inescort, Inez Courtney. The plot is a bit idiotic: (taken from a review at IMDB): Lucille is the inventor of a cream she is sure will revolutionize the beauty industry. It all happens after the man she loves (Patric Knowles) marries a member of the upper-crust (Frieda Inescort), breaking her heart. She peddles her product to a manufacturer (Donald Woods) who finds an investor in none other than Inescort. The romantic tensions re-arise between Knowles and Ball as they become re-acquainted, and Lucy, who has come to find Inescort to be a good friend, struggles to do the right thing. Five writers tried to polish up the script, and ultimately it’s not a bad piece of writing but it lacks the bite and the finesse to be a truly succesful comedy script. Happily, Lucille went on to bigger and better things later in her career. Ann, sadly, did not. She acted on the stage for the next couple of years.

Ann returned to moves in 1942 with Monogram Studios and Police Bullets, an unusual B movie about a man with photographic memory and a bunch of hoodlums trying to use his special talents. Alas, the short leashed budget and uneven acting performances ruin an otherwise promising little movie. She they played a bit part in a forgotten short comedy, Two Saplings. Equally forgotten was her next feature, She Has What It Takes, a Jinx Falkenburg vehicle. Her last movie was the touching Someone to Remember, a slow-moving drama about an old lady whose son was lost long ago, and how she bonds with young students. What to say, vintage weepie Hollywood! Ann gave up movies for a time afterwards to act on the stage again.

Ann made only one more movie, Casanova Brown, a Gary Cooper film, before retiring for good.

PRIVATE LIFE

Ann was 5 feet, 6 inches tall; weighed 122 pounds and had blond hair and blue eyes. Off the screen her hobby were clothes. She designed many of her own gowns and always appears as though she had just stepped out of a bandbox.

Ann’s first Hollywood beau was William “Bill” Hopper, son of Hedda Hopper – they started dating sometime in April 1936. They went to town often and were seen dancing in various nightclubs. He nursed her when she got intestinal flu and had to stop working on a picture she was making.

In November 1937, William put an engagement ring on Ann’s finger. Both are 22 and seemed to be more in love than ever. To make things ever sweeter, that year Ann and Wilma Francis, two recruits to the Paramount stock school from New Orleans, had their options extended for another term and were to be groomed for roles in forthcoming productions. Both girls received dramatic training under Phyllis Loughton. And then, it all went wrong. Ann and Billy broke up and she lost her contract with Paramount. Such is life in Tinsel Town.

August 1938 – Vic Orsatti and Ann Evers are cooing. Vic dated about a gazillion other girls, so it was pretty obvious this was more for fun and less for commitment. Ann was also pursued by handsome Conrad Nagel later the same year.

There was also this funny bit about Ann in the papers that year:

They Must Improve Their Bridge Game:  Frances Mercer, Ann Evers and Whitney Bourne had to confess recently to Director to Director Glenn j Tryon their inability to play an  important movie scene at a bridge table. Tryon had to summon Charles J. Fordham; professional player and coach, to teach the three starlets!

Ann also gave a beauty hint to her readers: She often wears an oiled silk kerchief to protect her hair on rainy days. Keep one in your pocket for sudden showers, it may save your head. Handy, have to admit.

In early 1939, Ann and Bill Hopper reunited, and by August they were a sure bet for matrimony. Bill was also with her when she had to wear false eyebrows when her own were singed off by a gas stove explosion. One of her hands was also burned.

Unfortunately, something happened and they never reached the altar. Too bad, they looked like a fantastic couple (at least physically). In 1942 Ann and Danny Winkler were the newest twosome. They met at the marriage of Irene Colman and Bob Andrews, but unlike Irene and Bob they didn’t make it anywhere. By mid 1943, she was feted by George Jessel (along with dozen of other girls).

Later, Ann also wrote about her experiences in Hollywood. Here is a short summary of the times Ann had in Hollywood, a pretty good illustration how it was for a young, pretty and talented actress who wanted to make it in Tinsel Town:

She la Ann Even, blonde, blue-eyed and shapely, who came here in January, 1936, seeking a career. When she left New York she had $400. She also had a six months’ contract with Paramount at $50 a week. Ann saved at least half and sometimes all of her pay during that contract, learning that in movieland you may always expect the worst. It came, for she. was dropped at the end of the contract. Then for nine long, months she didn’t get a single stroke of work. The money eased away, She couldn’t buy any clothes. Then she got two weeks work posing for Russell Gleason and a week and a half playing the lead for an independent studio, For all this she received an average of $250 a week, the biggest money she ever had made. Then came another three months of pounding the pavements from casting office to casting office without result. When she was again on the verge of despair she was given the lead in a western picture by another independent studio, getting $200 a week. The only trouble was the picture was a one time only. She then got a different kind of opportunity.

For a month now Ann has been inclined to jump at noises. Her appetite has failed at times. Bad dreams disturb her sleep. She may be climbing mountains, where rocks teeter on the edges, or she may be on a train speeding toward a precipice. She wakes up and shivers and pulls the covers over her head. She is going through the mental inquisition which comes sooner or later to every girl just on the brink of fame and fortune. It comes at the same point in their careers, the moment after ups and downs, with sometimes hunger thrown in, when they are waiting for a decision on their contract options. Working under a specific agreement with RKO for the one picture, Ann finished her best role to date, with Barbara Stanwyck in “The Mad Miss Manton,” a month ago. Whether the option is picked up, which will mean a good contract and a major step up the ladder, depends on how her performance is greeted by a preview audience at the end of this week, The studio has 30 days after th preview to make its decision. And so, for what may amount to a two-month period, Ann, like many ambitious girls before her, waits and hopes and grows more nervous over the outcome.

As you can see, it truly was nerve-wracking and not for the faint of heart. The more I read about it, the more I can understand how such lovely girls like Gail Russell ended up alcoholics before they hit their 30th birthday.

But now, on to something more upbeat! Sometimes in the early 1940s, Ann started dating Paramount producer Seton I Miller. Was it another case of Will Hopper, or did it end up at the altar? Let’s spoil it a little and say that Ann would end up marrying Miller. Something about Miller:

Seton Ingersoll Miller (Chehalis, Washington, May 3, 1902 – March 29, 1974, Los Angeles) was a Hollywood screenwriter and producer. During his career, he worked with many notable American film directors, such as Howard Hawks and Michael Curtiz.

A Yale graduate, Miller began writing stories for silent films in the late 1920s. In the 1930s, he tended toward the crime genre, collaborating with Hawks and others on one of the most groundbreaking of such pictures, Scarface (1932). At the time of the Production Code’s enforcement in 1934, Warner Bros. called in Miller to supply the dialogue and storylines they needed to adapt their pre-Code bad-guys to the new system. His scripts for G-Men (1935) and Bullets or Ballots (1936) successfully transformed big screen gangsters James Cagney and Edward G. Robinson, respectively, into crime-fighters. With Norman Reilly Raine, Miller wrote the script for The Adventures of Robin Hood (film). Often he adapted popular plays or novels, as with Graham Greene’s Ministry of Fear for Fritz Lang’s 1944 film. He worked regularly in Hollywood until 1959, when he helped write the thriller The Last Mile, but then left the industry for more than a decade. In his seventies, he made a brief return, providing screenplays for a horror film, A Knife for the Ladies, and for Disney’s Pete’s Dragon.

However, there was a catch. Miller was already married, to Bonita Nichols – they wed on 1927, and had two children – a son, Keith Stanford, born on October 31, 1928, and a daughter, Bonita Anne, born on March 6, 1936. I can’t find out if they were divorced by 1944. Before you ask if is it important, I think that it was very important for Miller and Ann back then, because their only child, daughter Catherine, was born on July 14, 1945. And Ann and Miller got married on January 26, 1946. Full five months after their daughter was born. That was back in the 1940s, where people didn’t have children out-of-wedlock often. So, while I can’t be 100% sure, the timeline is as it follows – it seems that Ann and Miller were involved before he was divorced, she got pregnant, they had to wait for his divorce to come through, and that is why Catherine was born prior to their marriage.

The papers first caught something in May 1945, when a heavily pregnant Ann left off to New York, and Seton went to meet her there. No mention of her pregnancy or anything else. Now, something about the marriage. They married in Montecito and had to postpone their honeymoon until Seton completed his picture-of-the-moment at Paramount. Afterwards they went on a six-week trip to Mexico City, Nassau and the Bahamas. During a portion of their honeymoon, they were guests of Ernest K. Gann, pilot and author, on his schooner in the Caribbean.

Ann retired from movies to dedicate herself to family life. Seton died on May 29, 1974. I have no idea what happened to Ann afterwards – IMDB claims she died on June 4, 1987 in Edison, New Jersey. I can’t vouch for that 100%. Whatever happened, as alway,s I hope she had a good life.

 

Wilma Francis

Sometimes, we want our actresses not to be cute girls next door like Rosemary Lane or Teresa Wright, but full-blown, over the top divas. Someone like Bette Davis or Gloria Swanson. Well, Wilma Francis was a diva. She was flamboyant, did things her own way and dated men by the bucket-load. Unfortunately, she never achieved a level of fame to make her comparable to other well known divas, but it seems she sure had a fun life!

EARLY LIFE

Wilma Francis Sareussen was born on November 26, 1917, in New Orleans, Louisiana, to John Sareussen and Frances Eleanor Ader. Her father was a wealthy ship chandler but by no means was he a true Southerner – he was born in Norway. Her mother did come from an old Louisiana family (think Scarlett O’Hara!). Wilma’s older sister Elinor Marie was born on December 10, 1915. The family resided in New Orleans, where Wilma grew up.

After graduating from high school, Wilma attended Tulane and Loyola universities, studying journalism. Now, how the story goes from here makes little sense – she, daughter of a prominent family and educated in top schools, while a student, ended up in a typing pool in an insurance company office in New Orleans. What?!! Anyway, this was the story she later sold to the papers, so I don’t know if this is true or invented, but why did they have to invent it anyway? Cinderella syndrome?

Anyway, Wilma landed in Hollywood because a scout for a film company (Ben Piazza) spotted her when she was working in the office of the insurance company, and signed her with Paramount.

CAREER

Wilma made her debut in Florida Special, a run of the mill crime movie with Jackie Oakie as a worldly journalist trying to stop a train robbery. Yawn! been there, seen that at least a hundred times… Her next movie, And Sudden Death, was hardly any better – featuring Randolph Scott and Frances Drake, it was a cautionary tale about traffic and speeding. As it usually happens in much films, traffic cop falls for a young woman who simply drives too fast… Blah, blah.. It goes into overt dramatics too soon and becomes a sappy, low budget miss. It’s a shame, since the topic of driving too fast and too furious in traffic is very relevant today (and boy, so much!).

Wilma finally snagged a credited role in Lady Be Careful, but the movie is so utterly forgotten today there is nothing I can write about it. next. The same goes for her netx movie, Hideaway Girl. 1937 started a bit better for Wilma – her first movie of the year, Bank Alarm, was a bland and uninspiring film about G men fighting against a group of bank robbers, but at least the movie left the smallest of traces for prosperity. Unfortunately, this did not mean further career enhancements for Wilma – she spent the rest of 1937 far from the movie cameras, and only came back in 1938 with Trade Winds, a witty, sparking and elegant screwball comedy, with a top-notch cast (Joan Bennet!! Fredric March!!) and more than one twist to keep you occupation.

Wilma then left Hollywood for a short time, returning in 1940 to make Stolen Paradise, where her then husband, Leon Janney, was playing the lead. Unfortunately it was directed by the king of camp, Louis Gasnier, who ably helms it into “bad acting and bad script territory from scene one. The story is not half bad, and actually pretty deep in some aspects – a young man who wants to become a priest falls in love with his step sister and does not know how to deal with his emotions – it really sounds good, but the execution is awful. Skip! Next came the only slightly trashy Under Age – yep, as the title suggest, the girl here and pretty, nimble and under age.  It’s an early movie by future legend Edward Drmytryk, but boy, while he does show signs of brilliance, it’s still way too much. The muddled plot is a hotbed of complicated feelings, bratty teens and love triangles. Skip. Wilma’s last and best movie from this batch was Borrowed Hero, a more than decent B programmer about a lawyer who after a stint of bad luck finally hits the jackpot – and how his life unravels afterwards. Florence Rice is in it – a plus for sure!

In the 1940’s she worked for a while as an assistant to director Sam Wood’and made her last billed appearance in a motion picture in Wood’s 1945 film Guest Wife. She then did some TV work (which I will not go into any detail), and appeared in minor roles in two more movies – Hotel and Airport. And that was all from Wilma!!

PRIVATE LIFE

While in Hollywood, in her spare time, Wilma builds boat models. She revealed to the press that she learned the craft from her father, by then a retired naval officer.

Since Wilma was of a prestigious ancestry, bits and pieces were written about her family in the papers. Here is an early example:

One of Paramount’s younger players, Wilma Francis, has the most interesting antique bracelet in Hollywood. It is a family heirloom and has been handed down for many years with a legend which traces back to Cellini’s days when the piece of jewelry is supposed to have been made by this famous master. It is of dull gold with a floral tracery which has been filled la with black platinum. The design resembles a wide leather strap with a buckle and the bracelet has a safety clasp which is held with a fine golden chain.

Wilma started dating Conrad Nagel in August 1936, and their relationship blossomed nicely in the comings months. Already in November of 1936 there were rumors that they might wed. She told the press: “Conrad is the dearest person in Hollywood. We are constant companions. Of course, I am only 18 I’ll be 19 on Thanksgiving day. And Conrad is 37. Marrying him wouldn’t hurt my career.” However, there was a lull in the fairytale when Paramount refused to renew her contract Wilma used the opportunity to visit her mother. At the train to bid her farewell was none other than Conrad Nagel. The trip sparked a “finis” to their romance because at the time Wilma was doubtful whether she would return again to resume her career. However, Wilma returned to Hollywood, but not to Conrad. After a brief fling with director Wesley Ruggles, from March until May 1937, she dated noted novelist B. P. Schulberg. After she ditched Schulberg, she resumed with Conrad for several months in mid to late 1937. Again, there were rumors of their impending nuptials. They dated, on and off, for more than a year, breaking up in December 1938. In the interim, Wilma dated Latin charmer Antonio Moreno.

In early 1939, Wilma took up with Leon Janney, juvenile actor. They were married in March of the the same year, although they kept the marriage a secret from the press for at least four months.  Janney was born on April 1, 1917 in Ogden, Utah. He started acting in earnest in 1927, when he was 17 years old. He was very active until 1932, and afterwards he got into the theater, where he met Wilma. They were all lovely dovely until June 1940, when something bad happened and they separated in August – they reconciled in September and tried again. This was a flop also – they separated again in October, tried to patch things up but were kaput by December 1940 and started divorce proceedings early in 1941. Wilma charged cruelty (she charged he threw a pack of cards at her during a bridge game) and they got their final decree in May 1941. Janney remarried twice and died in 1980 in Mexico.

Wilma then changed her life a great deal, got out of acting (more or less), and moved to New York.  Then, in November 1946, Wilma hit the papers big time as a witness in a case of a major money swindle. The main perpetrator was Jimmy Collins. This is a short excerpt from the article about the swindle:

Sally Haines, blond film actress and dancer, admitted last night that she was a close friend of Jimmy Collins, sought as suspect in the Mergan-thaler Linotype Co. swindle in New York. Her attorney, Milton M. Golden, went further. He admitted that she and Collins shared a Safety deposit box in a New York hank, the box which New York police said yielded $5400 in cash. Golden also said Collins had been living in a New York hotel where Miss Haines and her actress friend, Wilma Francis, shared an apartment. However, as to reports that Collins helped finance a newly opened night club in Palm Springs, Golden was firm. “Not that I know of,” he said. The attorney explained the safe deposit box and its contents. “Yes,” he said, “the box is hers. The money is hers, too. There also probably were some other things in the box a few trinkets and some Jewelry.” ‘Might Have Married’ He explained the joint use of the deposit box by saying, “Well, you know, they were very good friends. It was possible that a marriage might have developed, from their friendship.” Miss Haines, Miss Francis and Golden told about the Collins friendship at a meeting with the, press in the home of AIDS POLICE Glenda Farrell gave information about missing swindle suspect. W) Wirept AT LARGE James Collins, also known as Julius Davis, who is sought in case, Mrs. Sylvia Garrett, 8235 Lincoln Terrace, in the Sunset Strip district. “I know him very well,” Miss Haines, former wife of Comedian Bert Wheeler, said. “I’ve known him about 14 months. However, I was not married to him. I last saw him Wednesday, We had been at Palm, Springs with a party attending the opening .of a club there. ,,The party returned and I saw him off oh’ an American-AU’iines plane. ‘ ‘ “He seemed a little nervous when he left, but I thought nothing of that. He said he would telephone me Friday night, but I didn’t hear from him. Knew Little. About Him “He is a man of a great deal of charm,” she said.. “Hp’s a medium-sized man, blue-eyed with a longish face, He looks something like Fred Astaire with hair,’ “I know surprisingly little about him considering how long I’ve known him,” she continued. “You know how it is. You don’t ask a person all about his business, where he’s from and who his friends and relatives are. He gave me a telephone number which ho said was that of his Importing firm in New York, where I could reach him. He said he was 43. Now I hear he is 53 or 37 or something else,” Miss Francis said she also knew Collins but nothing of his background, the city was that Burke and his wife .were ineligible for occupancy of tho veterans’ housing project because he had not served in the military forces during the war. The Burkes were moved from Rodger Young Village, another veterans’ home center in Griffith Park, some days ago when their eligibility was contested there. They then took up residence in the Channel Heights unit” …

After this unfortunate accident, Wilma returned to Los Angeles in December 1946, but by January 1947 she was bedded, with a nervous breakdown, probably due her involvement with Collins. By May, she got her groove back and was beaued by Dane Clark. Later in the year, she was seen with comedian Lew Parker.

In May 1949 there were rumor she’s hot going to altar-trek with Stacy Harris, star of radio’s “Your F.B.I.” Unfortunately, they were just rumors, and Wilma did not wed Stacy. In May 1950, she was pursued by actor Eddie Norris.

On September 29, 1951, Wilma married Roger Valmy. Valmy was quite a colorful character. Born in Egypt on October 1912, he moved to Paris with his mother and was a horse racing champion before the fall of Paris during WW2. He moved to the US and started a highly successful real estate agency in California. He was married once before in 1943 to Ruth Ownbey, a model and starlet. Later he dated and was very serious about heiress Barbara Hutton.

Wilma and Roger lived the high life in Beverly Hills, as she was Southern royalty and he was a wealthy and highly charming real estate tycoon. Unfortunately divorced after less than two years of marriage in mid 1953.

After he and Wilma divorced, Roger was married two more times – to Margarett Smith in the early 1960. They divorced in 1972 for the first time, remarried in 1974 and divorced not long after in 1976. In 1977 he was married to his last wife, Dana Kathleen Bond. He died in 2004 at the age of 92.

Wilma continued to date, but never remarried. Some of her post-marriage beaus were Jake Ehrlich Jr. in 1956. She returned to Louisiana to live close to her sister, Elinor, and worked as a very successful casting director.

In May 1958, she got into newspaper again, but not for a nice things – she changed four charges, including kidnaping, against a Gretna, La., policeman as the result of a fracas at a ferry landing there on April 2. Miss Sareussen, who used the name Wilma Francis in the movies, filed the charges with Justice of the Peace L. L. Traught of Gretna against Policeman Alvin Bladsacker. Gretna is across the Mississippi River from New Orleans. Miss Sareusson makes her home in New Orleans. She charged Bladsacker with assault and battery, kidnaping. false imprisonment and unauthorized use of movable property (her car).

I could not find any more information about the case, so let’s assume it just let it flow. Wilma completely falls of the radar from then on.

Wilma Francis died on in.

 

Constance Weiler

Unfortunately, there is a shortage of information about the lovely Constance Weilver, and this is going to be one slim post, so bear with me. While I dislike writing short posts, I fell in love with the above photo of Constance, and I just had to profile her. So let’s learn more!

EARLY LIFE

Constance Ellen Uttenweiler was born on September 17, 1918,in Toronto, Canada to Lebret Joseph Uttenweiler and Mable Wilson. Her older sister Bernice was born on May 11, 1917. Her younger brother Robert would be born in 1921. Her father was American, born in Michigan, her mother was a Canadian. The family lived in Toronto, where Constance spent her early years.

On April 30, 1927 at the age of 8 she immigrated to the US with her parents, arriving in Detroit by boat. They went to live with their paternal grandfather, Robert Wilson, in Detroit, Michigan.

In April 1929, her parents divorced, and a few days later her mother married Joseph Kirzinger. Two more children were born of this union (son Lawrence and daughter Iris). Only young Robert went to live with the Kirzinger newlyweds – the sisters remained with their dad and lived in Detroit (I wonder how the story went – why didn’t Bernice and Constance go on to live with the Kirzingers and Robert did? Smells like an unusual story!)

At some point, Constance landed in New York and found work there as a theater receptionist (have no idea which theater). Constance was signed to a term contract with MGM after talent scouts spotted her in a New York night spot in 1943.

CAREER

Connie signed with MGM, the most prestigious studio at the time, and made her debut in 1943 in The Man from Down Under, a Charles Laughton movie. In many ways, it’s a typical wartime propaganda movie – on the other hand, in many ways it’s not a typical propaganda movie. What makes it stand out, if only so slightly, is the fact that it deals directly with Australians and their bit in WW2. Tell me named of three movies about Australia from the golden age of hollywood. You see, hardly any springs to mind. Constance’s second movie was the more prominent I Dood It, a Red Skelton comedy classic.

Constance then made a string of well-regarded musicals – Broadway Rhythm and Bathing Beauty. No story, little character development, lots of singing and dancing. Constance returned to propaganda movies with This Man’s Navy, about  U.S. Naval Airships (Blimps) and featuring Tom Drake, who for a time seemed like the hot new thing then faded quickly into obscurity.

During this time, Constance was featured in several movies by the great but troubled actor, Robert Walker – The Clock (a superb, intimate drama with Walker and Judy Garland), Her Highness and the Bellboy (a so-so musical about a princess, played by Hedy Lamarr, and the unrequited crush the hotel bellhop, played by Walker, harbours towards her).

In 1946, the war was over and Constance’s career entered a new phase. Her first post war movie was Up Goes Maisie, a continuation of the adventures of brassy showgirl Maisie (played by Ann Sothern). Constance continued appearing in high quality movies that never hit top-tier. Meaning, she never acted in a movie that ended up a classic, but she did work in solid movies with a solid if sometimes phenomenal cast.

Such two movies were The Hoodlum Saint, a morality tale about a WW1 vet (played by William Powell) who will do anything to get rich (and the consequences of his actions) and Two Smart People, an unusual noir romance film, directed by Jules Dassin and headed by John Hodiak and Lucille Ball as two con artists in love.

The Arnelo Affair is actually a mediocre effort somehow undermined by the wooden acting of the female lead, Frances Gifford. The story is the same old cautionary tale for wives – don’t cheat on your husbands, and if you do… Well, you get the picture. John Hodiak is solid as the “bad guy”/affair of the title, and Eve Arden and Dean Stockwell are wasted in sub par roles. MGM could definitely do better than this! Sadly, It Happened in Brooklyn, her next movie, wasn’t quite the high quality movie to follow-up on a dismal one. It’s a nice enough musical, but the story and characters, being paper-thin, weight it down tremendously. Good musicals should have a simple but effective story, not some pastiche

Constance had a minor role (literary) in The Beginning or the End, a docudrama about the atomic bomb (and again shared the screen with Robert Walker).

Constance’s last movie made under the MGM helm was The Romance of Rosy Ridge, perhaps the most superior film of the post-war lot. Why? Well, for one thing, it deals with subjects that Hollywood often tended to avoid – the post-war animosity and hatred that still burns deep in the people. While it was made post-WW2, the plot is set after the American civil war, and illustrates nicely how people lived in Missouri in the mid 19th century. it’s surprisingly authentic for a Hollywood production of the 1940s, and despite a few song and dance numbers, never falls into the sappy/sweet routine. The leads are played by the young, fresh-faced Janet Leigh and Van Johnson – a good combo!

I guess Constance went freelancing, but appeared in only two more movies – a great one and a sadly lukewarm one. The great one was The Asphalt Jungle, a top-notch heist film, dark, gritty, intense, one of the best movies John Huston made. The lukewarm one was Three Guys Named Mike, a fluffy and brain-dead rom com with Jane Wyman as a stewardess who has to choose between three guys named Mike. It’s much better than most rom-coms today, mind you, still not enough to warrant a second look.

And that was it from Constance!

PRIVATE LIFE

This here is pretty thin. There were no articles about her love life, so I can’t say whom she dated while in Hollywood in the early 1940s… However, there was a short article about her in 1946:

Constance Weiler, on the set of “The Postman Always Rings Twice,” telling John Garfield and Leon Ames the thrill of flying one’s own plane. After six weeks, she’s just made her first solo hop. The payoff is she can fly a plane but doesn’t yet know how to drive an automobile.

Funny, she never appeared in the movie, at least it’s not among her credits. Constance’s career effectively ended in 1947, although she did bits and pieces afterwards, from 1946 onwards, there were no mentions of her in the papers.

Next thing we know, Constance married Douglas la Franco on June 7, 1957, in Los Angeles. Her career had been over for almost a decade by then, and she was consistently out of the limelight. Anyway, La Franco was born on September 25, 1929 to Ceferino la Franco and Edna Pullion. His father was from the Phillipines, his mother from Oregon (what a combo!). He grew up in California and was never married before he wed Constance.

Unfortunately, the marriage lasted a very short time, and they divorced in 1959. They did not have any children. In 1960, Douglas married his second wife, Pearl Colberg. Constance did not remarry and lived for the rest of her life in San Francisco.

Constance Weiler died on December 10, 1965 in San Francisco, California. Constance’s former husband, Douglas la Franco, died in 2006.

Carol Yorke

Carol Yorke started as a beautiful, feline model who tried Hollywood and failed. Nothing new here – tons of models went to Hollywood and never made anything worthwhile. However, Carol was not the one to take no for an answer – she completely reinvented her life and became one of the premier fashion connoisseurs and columnists of her time. Let’s learn more about her!

EARLY LIFE

Carol Yorke was born Carolyn Bjorkman on April 25, 1926, in Swissdale, a suburb of Pittsburgh, Pennsylvania, to Elmer and Ruth Bjorkman. Her paternal grandparents were Swedish immigrants – her mother was a native Californian. Her younger brothers were John, born in 1928, and Richard, born in 1934.

Carol’s parents died when in the late 1930s, and she and her two bothers were raised by their paternal aunt, Gertrude. In 1940, the Bjorkmann children lived in Swissdale with their grandparents, uncle, his wife, another uncle and Gertrude.

Carolyn was a talented child who, after graduating from high school in her hometown (Pittsburgh), attended Carnegie Institute of Technology Drama school. Due to her good looks, she soon landed into the modeling scene – she first modeled for the local manufacturer Joseph Home Co, and soon she was on the rise.

Buoyed by her successful modeling experience, she moved to New York in the mid 1940s and did work for John Robert Powers. She was a seasoned model when she tried Hollywood in 1947.

CAREER

Carol made only one movie, Letter from an Unknown Woman, directed by Max Ophuls. But, what a movie it is! Note this: Carol shaved three years of her actual age, and tried to pass of as a fresh-faced 18 years old in 1947.

Here is a brief summary: In Vienna, about 1900, a dashing man arrives at his flat, instructing his manservant that he will leave before morning: the man is Stefan Brand, formerly a concert pianist, planning to leave Vienna to avoid a duel. His servant gives him a letter from an unknown woman, which he reads. In flashbacks we see the lifelong passion of Lisa Berndle for him. Carol plays Lisa’s sister Marie in the movie, and you can consider her character a teenager.

What can I say, I love this movie. It’s like a finely crafted painting, made with impressionist sensibilities. Simple but extremely powerful. Acting is great, and this is one of the better roles for our favorite cad, Louis Jourdan (talented, but always played the same stereotype). Joan Fontaine (one of my favorites) shows us just how gentle and subtle an actress she was (a rarity in Hollywood, where they often value dramatics over something more elegant.) Overall, it’s an incredible work of art, one of the most emotional and earnest movies I have ever seen. So sublime it’s almost misty and unreal. Forget the story and just feel it all!

Not a hit when it was made, it’s considered a classic today, but sadly, did no favors to Carol nor her career. I have no idea why she didn’t make at least one more movie, but there it is, this was her first and last effort. It wa back to the East coast afterwards.

PRIVATE LIFE

Carol dated Artur Ramos Jr in mid 1948. Then she was seen romancing with Murray Sulzberg (who had oodles of millions) in late 1948. Early 1949 saw her with cheese heir Ed Brown.

Carol returned to New York after her unsuccessful Hollywood sojourn, and found work modeling and doing PR for famed designer Valentina. Valentina was a progressive, avant-garde woman and Carol met many a intellectuals and prominent people while in her employ. Her new-found social connections landed her a job at Saks Fifth Avenue as a buyer for a new salon called the Evening Room, specializing in evening wear.

Hungry for more of everything – fashion, love, hapiness – Carol departed for Europe and settled for a time in Paris. With a sharp eye for fashion, Carol was one of he first fashion people who took notice of the young, up-and-coming designer Yves Saint Laurent . In 1958, Carol contacted the young designer and secured his a phleora of rich American grand dames who wanted to become his clients. It was a lucrative deal for both Carol and Yves, and they remained lifelong friends. Another designer Carol discovered before everybody else was Halston – originally an innovative milliner, it was Carol and her fashion world connections that helped him catapult into full pledged sartorial stardom.

In October 1962 she was in Monte Carlo and wrote a letter to John Fairchild the editor of the influential fashion magazine, Women’s Wear Daily. He gave her a chance to write her very own column – she result was a column titled ”Carol Says”, which dealt with fashion, society and spot news and was syndicated in several papers. Carol knew everybody, was witty and light on her feet and easy on her worlds – endlessly charming, she gathered a wide fan base and became one of the most popular female columnists of the time.

During her tenure as a columnist, Carol interviewed celebrities, both notables from the fashion world and notables outside the fashion world, including politics, movies and so on. Carol always wished to be an actress, and there was a deeply intrinsic part of her that went unfulfilled and frustrated – she vented out her firstration by attracting attention wherever she went – most notably fashion shows. Often the reporters would completely forget the models and focus solely on her. She would enter in grand style, with her poodle Sheba under her arm, always highly dramatic, she would fling her coat so that everybody could see that is was a genuine Balenciaga.

As for her love life, little is known. She never married,  but it seems she had a special friend in the millionaire garment manufacture Seymour Fox and would regularly arrive at the office with her poodle Sheba in one of his collection of stretched limousines.

On 28 November 1966, Truman Capote threw his legendary masked Black & White Ball at the New York Plaza Hotel. It was the social event of the year. Carol was among the 500 prominent guests (some of the other guests were Mia Farrow, Frank Sinatra, Andy Warhol, Lee Razdiwill, Marella Agnelli, Joan Fontaine, Katherine Graham, Babe Paley and so on).

Unfortunately, time was running out for Carol. She contracted leukemia – in early 1967, she took a limousine to the Memorial Hospital for Cancer and Allied Diseases. She had a bar installed in her private room and entertained until the end.

Carol Yorke died on July 5, 1967, in the Sloan-Kettering Institute for Cancer Research in New York.

 

 

Beryl McCutcheon

Cute looking, round-raced Beryl McCutcheon got into acting by mistake, and – like most girls who never had a theatrical background and thought that their looks were enough to pull them trough – never left the uncredited roster. To her credit (haha, pun intended!), she was persistent and made two come backs – too bad it didn’t work out well enough to warrant a solid career. Let’s learn more about her.

EARLY LIFE

Beryl McCutcheon was born in 1925, in Little Rock, Arkansas, to James McCutcheon and Robbie Day. Her father, who worked as a building painter, was originally from Wisconsin. In the late 1900s, He moved to Louisiana where he met Beryl’s mother, married her, and started a family. For business purposes, the couple moved to Canada – their daughter Ione was born there in 1915. By 1920, they were back in the States. Two children were born in Louisiana: a son, David, in 1923, and a daughter, Lois, in 1924. They then moved to Little Rock where Beryl was born.

Her family moved to Los Angeles, California, just a few short months after Beryl’s birth. Her younger sister, Joanne Patricia, was born there on August 5, 1931. Beryl grew up in Los Angeles and attended high school there. She had no big dreams of becoming an actress – but fate had other plans for her.

The year was 1943 and war was raging all over the world. Beryl had just graduated from high school. Her older brother David worked as a messenger boy at MGM. Unfortunately, messenger boy jobs were soon vacated by war – david, like many others, was called to fight. When messenger boys became scarce, MGM producers naturally replaced them with girls. Thus, Beryl took the David’s place when he joined the U. S. Coast Guard.

She wasn’t on the job long before famous hoofer Gene Kelly noticed her and recognized major potential in her – MGM tested her, she passed the screen test and ultimately won a contract. So, Beryl’s adventure started.

CAREER

Beryl made her debut in a variety musical, Broadway Rhythm. No story, no depth, no acting, just singing and dancing. IMHO, meh. Beryl marched on. Due to her slight age, she was then cast as a Co-ed in Bathing Beauty, a insanely popular Esther Williams picture with a thin plot but plenty of swimming, eye candy and comedy. They don’t make them like this anymore!

For the rest of her MGM tenure, Beryl mixed drama with musical movies, perfectly illustrating what MGM was all about in the 1940s and 1950s. She was in Marriage Is a Private Affair, a lukewarm Lana Turner vehicle – the movie made sense during the war, when women married servicemen on a whim and were hard to accommodate to a completely new, austere way of life, but seen today, it’s a feeble drama. Lana is not dramatic talent to be sure, but she had the sass and the elegance ot make her a star – and she was very pretty when she was young (unfortunately, she didn’t age too well).

Much better was Beryl’s next movie, Thirty Seconds Over Tokyo, a superb example of what a war movie should look like. It has everything – good actors, a sturdy plot, and a positive message to boost your moral. Beryl’s next movie, The Clock, was equally as good – just on a different level. It was a more intimate war movie – about two people who meet just before one is to be shipped overseas to fight- with a powerful emotional momentum and two unlikely but perfectly cast stars – Robert Walker (whom I always remember as the psycho from Stranger in  Train – I know, not fair to this talented actor, but he was tops in the role) and Judy Garland, in one of her rare non-musical roles.

Beryl was back to fluffier, easier fare with Thrill of a Romance, another Escther Williams musical. If you like water extravaganzas, this is for you! Next came The Hoodlum Saint, an unusual try to make another Thin Man – the plot is about a newspaper reporter who tires to go back to normal life after WW1.  However, it doesn’t quite click. The male lead is the same William Powell, but it’s 20+ years later and his Nora is not Myrna Loy but rather Esther Williams, who was 30 years younger than William. Not a good pairing at any rate. However, the movie has some saving graces – the supporting cast is wonderful (Angela Lansbury, Lewis Stone, Rags Ragland, Slim Summerville) and the overall feeling of the movie is solid.

Beryl was back in the musical saddle with the classic, Till the Clouds Roll By. Afterwards, she left movies to get married, but that was not the end.

Beryl returned to movies after a 7 year hiatus in 1953. She then appeared in Glory Alley, a muddled mess of a movie about a crooked boxer and his trials and retribution. it’s the kind of movie that tries to be everything at the same time – a serious drama, a breezy comedy and a simple sports film. Like most tries at mix and matching genres, it fails miserably. We actually have great actors in it –  Ralph Meeker, the best Mike Hammer IMHO, and the alluringly gamine Leslie Caron, and a top director – Raoul Walsh – but it just doesn’t work. It seems like everybody is lost and has no idea what there doing – only the flimsy script keeps that on track.

Then came Dream Wife – I love this movie despite the pretty abysmal reviews. I watched it twice and it was nice, easy and funny – exactly what a movie of that caliber should be. It ain’t a masterpiece but who’s asking for it anyway? Cary Grant plays himself and Deborah Kerr plays herself – and they are pretty good at it. And Betta St. John is gorgeous beyond words! Just simply watch it! Beryl had the fortunate opportunity to appear in How to Marry a Millionaire, a beloved classic that needs no introduction. Ah, those candy-sweet, Technicolor movies, gotta love them!

Betty took another breather, and made only one more movie 3 years later – Ransom!, a superb thrilled where Glenn Ford and Donna Reed play parents of a boy who has been kidnapped and held for ransom. It’s a tight, well plotted movie without  a minute to lose – and very emotionally intense. Both leads are great in their roles. Watch!

After some minor TV work Beryl retired from acting for good.

PRIVATE LIFE

Beryl married her first husband, Robert Joseph Kindelon, on October 24, 1946.

Robert Joseph Kindelon was born on July 26, 1919, to Joseph Kindelon and Mary Ellis. His father was an oil well supply salesman. He was the oldest of three boys (other two were Ellis and Richard). Robert was movie struck from early childhood, working as a movie usher and attending college ta the same time. After graduating, he found work on the MGM lot as a casting clerk. There he met Beryl, and the rest is history!

The couple had two sons: Patrick Joseph, born on August 26, 1947, and James Ellis, born on December 23, 1949. The family lived in Los Angeles, where Robert was in the casting business – he left MGM at some point and opened his own casting agency, Independent Casting of Hollywood. He merged with several other smaller casting agencies,  like Artist Casting over the years. Robert’s brother Richard also became a succesful casting director and moved to Hawaii where he worked on Hawaii 5-0.

The Kindelons divorced in the mid 1950s. Robert remarried in 1960 and died on February 22, 1981 in California.

I could not trace Beryl’s fate afterwards with a 100% accuracy, but it seems she didn’t remarry, that she lived in Culver City at some point and died in Ventura County, California, in 2014.

 

Dorinda Clifton

Dorinda Clifton started her movie careeer in a big – playing a leading role, receiving loads of publicity and critical plaudits. However, even with this powerful platform, she failed to gather any real attention. Afterwards, she valiantly tried to revive her career for more than 5 years, but after getting less and less attention, gave up movies to raise a family and later, become a writer.

EARLY LIFE

Dorinda Clifton was born on April 27, 1928, in Los Angeles, California, to Elmer Clifton and Helen Kiely. Her older sister, Patricia, was born in 1925 somewhere at sea (I wonder where!). Her younger brother, Elmer Jr, was born on April 20, 1932.

Dorinda grew up in the movie colony called Hollywood – her father was a movie director who worked with many silent movie notables. His short bio, taken from IMDB:

He acted on the stage from 1907 and worked with D.W. Griffith in various capacities between 1913 and 1922, including appearances in The Birth of a Nation (1915) and Intolerance: Love’s Struggle Throughout the Ages (1916). He became a director in 1917, with his best-known production probably being the big-budget whaling epic Down to the Sea in Ships (1922), which brought Clara Bow to the attention of audiences. Unfortunately, his career began to wane in the late 1920s; although he occasionally worked for such “major” studios as Columbia or RKO, he spent most of the rest of his career mired in the depths of Poverty Row, writing and/or directing low-budget westerns and thrillers for such low-rent studios as PRC and even lower-budget exploitation pictures for such quickie producers as J.D. Kendis and the Weiss Brothers.

It came as no surprise that Dorinda also wanted to continue the family tradition and to act. She was snatched by Columbia before she even graduated from high school, as this article can attest:

Columbia’s new 17 – year – old discovery, Dorinda Clifton, is starting her screen career on the exact spot where her father worked 30 years ago. The location is Columbia’s branch studio on Sunset boulevard at Lyman place, where Dorinda is playing the title role in the new movie version of Gene Stratton Porter’s “Girl of the Limberlost.” In 1915, Dorinda’s father, Elmer Clifton, was a young leading man in D. W. Griffith’s “Birth of a Nation,” which was made on outdoor stages at precisely the same place.

And thus her career started.

CAREER

Dorinda appeared in only one movie for Columbia, The Girl of the Limberlost. Based on the classic novel by Indiana authoress Gene Stratton-Porter, it’s raw, brutal and unpleasant, about a girl whose own mother hates her, but despite the sombre plot, the movie never goes over the line into truly hard stuff, as this is still Hollywood, no matter the story, they always make it a cut or two above depressed. Dorinda played the lead, and great things were expected from her. Unfortunately, the movie failed to gather much interest among the public despite genereally warm reviews -as a result, it’s barely remembered today, and Dorinda’s career tanked.

However, she chose to march on. She lost her Columbia contract, but signed with a poverty row studio. So, her next movie, was The Marauders. What can I say, low-budget westerns yet again! This is an above average Hopalong Cassidy movie, but it’s still a low-budget western so no bueno as far as I’m concerned.

Dorinda won a contract with MGM, hoping to obtain stardom thru a different path. MGM put her in a string of different genres, and she started her MGM years in two pretty famous musicals – On the Town and Annie Get Your Gun. She than branched into thrillers with Shadow on the Wall, an interesting movie which gave Ann Sothern  chance to play drama – and that didn’t happen often, mind you. Strong support is given by the ever suave Zachary Scott and Gigi Perreau.

Dorinda went back to musicals, and appeared in a string of them – Hit Parade of 1951Grounds for Marriage (a Kathryn Grayson/Van Johnson vechicle), Call Me Mister (this time a Betty Grable/Dan Dailey movie) and Excuse My Dust.

Then it was back t more serious movie fare with Slaughter Trail. Serious only in name – it’s another western, not quite a slow budget as Hopalong Casid but not a whole lot more. It does have a more impressive cast (Brian Donlevy, Virginia Grey), but it’s still the same old Cowboys vs Indians.

The last batch of movies Dorinda made under her MGM contract were excellent musicals – The Belle of New York (the weakest of the bunch, but still a good enough musical with Fred Astaire), Singin’ in the Rain (what more do I need to say?), Million Dollar Mermaid (one of Escther William’s best), Stars and Stripes Forever (worth seeing for Clifton Webb if nothing else) and The Band Wagon (the best Cyd Charisse and Fred Astaire pairing). Dorinda’s last two movies were adventures: The Golden Blade, a mid tier Arabian adventure type, with Rock Hudson and Piper Laurie, and Moonfleet, a beguiling mix of swashbuckling movie and Gothic horror. The male lead is Stewart Granger, truly a fitting replacament for the aging Errol Flynn, and the rest of the cast is equally good – George Sanders, Joan Greenwood, Viveca Lindfors.

After her MGM contract ended, Dorinda gave up on movies to devote herself to family life.

PRIVATE LIFE

For a time in 1949, Forinda was slated to marry Anson Bond, a “quickie” producer, when his divorce from Maxine Violet Nash was made final. Bond was a business partner of her father, and it seemed to me the scenario of “marrying the boss’ daughter” more than a love match. However, fate intervened – Dorinda’s father died in 1949, and she broke up the engagement not long after.

met her first husband, William K. Nelson, when served as Youth Director for the Congregational Church in Hollywood. They married in 1951.

William “Ace” K. Nelson was born Sept. 7, 1922, in Hollywood, California. Here is a short summary of his life, taken from his obituary:

Ace was a graduate of Hollywood High School and Occidental College. He got his nickname when he was playing guard on a never-defeated Hollywood High School basketball team. At the final bell he flung the ball from beyond mid-court and scored the winning basket. The next day, the papers reported Bill “Ace” Nelson’s amazing shot. The nickname followed him to college and onward.

While still at Occidental, Ace joined the Navy’s officers training corps, and after Pearl Harbor was sent to Columbia University to be trained as a “90-day wonder” Naval officer. He commanded an LST for three years in the Pacific during World War II. His was the flagship of his 60-ship convoy.

After graduation from Occidental with a major in economics, Ace and his friend Robert Hayward decided they didn’t want to sit behind desks all their lives. They therefore hired an old and wise Swedish carpenter to teach them the trade by building a house with them. Ace continued to be a (very contented) carpenter-contractor for his working life

The couple had three sons: Alec, born on August 22, 1953, Mark, born on October 29, 1953, and David, born on May 21, 1959. The family lived in Corona Del Mar, California. Dorinda gave up her career by that time and was a devoted mother and wife.

The Nelsons divorced in 1967, and William remarried to Joni, and moved to Oregon. He died in 2008.

Dorinda married her second husband, Anthony Lee Gorsline, on July 5, 1970. Gorsline was born on May 4, 1930, in California. He was married once before, to Stephanie Lorna Herrmann, in 1953, and they divorced sometime in the 1960s.

The couple moved to Brownsville, Oregon. Unfortunately, they divorced in 1976. Dorinda continued to live in Oregon and never remarried. Gorsline also stayed in the same city.

Dorinda became a succesful writer and was very active n the aristical communit on the West Coast. She started writing her memoir, and did so partial yin the 100 years old artist’s retreat, MacDowell Colony. When asked about her reasons for becoming a writer, she said:

“The reason I write is I have all these ghosts in my past, and I want to have them tell the story. Then I don’t have to live with this story any more.”

She finally published her memoir, Woman In The Water: A Memoir Of Growing Up In Hollywoodland  (check it up on the Amazon link), in 2005. The book was warly recieved and she continued writing, mostly childen’s books. Some of her works are: Take the cake, Everybody is somebody and Ginger Bird. She retired from writing in 2007.

Dorinda Clifton died on February 18, 2009, in Brownsville, Oregon. Her former husband, Anthony Gorsline, died just few months later, on June 17, 2009.

 

 

Georgia Clancy

georgiaclancy

Stunning model who went to Hollywood hoping for fame and fortune, Georgia Clancy was one of many that never amounted to much in the movie world. Yet, after both her acting and modeling careers were over, she became a highly succesful executive and paved her own way in life. Let’s learn more about her!

EARLY LIFE

Georgia V. Clancy was born on October 10, 1924, in Sayre, Beckham County, Oklahoma, to Elmzey George Clancy and Mary Etta Hervey. She was the second of four children – her older brother was Alvin, born on February 19, 1923, and her younger siblings were Helen, born in 1931 and Mary, born in 1932. Both of her parents were native Oklahomans.

The family moved from Sayre, Oklahoma to Texas for a brief time in 1932, (her sister Mary was born there), then back to Oklahoma (San Francisco, Oklahoma, yep, that place really exists) and finally to Compton, California in 1936. Georgia’s father was a carpenter and had his own carpenters workshop – her mother helped manage it. Both Alvin and Georgia worked at the workshop since their early teens – by the time she was 16 years old, she racked up quite a bit of work hours per week.

wanting for a better life, Georgia decided to try her luck in New York, where she went after graduating from high school. Not long after she became a premier bathing suit model and was summoned to Hollywood for the movie Bitter Victory in 1948.

CAREER

Georgia landed in Hollywood in 1948, under this guise: “Georgia Clancy, America’s top bathing suit model who became a mannequin hoping it would lead to an acting career, recently reached second base in her campaign to become a screen actress. The beauteous redhead rounded first base in the self-same campaign last week when Paramount called her to play herself in fashion salon sequences for “Bitter Victory.” She was one of the premier New York models sent to Los Angeles – the others were Billie Fuchs, Maruja, Vivian Easton, Georgia, Yvette Koris and Gini Adams.

The movie never being made (a Bitter Victory movie was made later, in the 1950s, with Richard Burton), Georgia opted to stay in Los Angeles and actually made her Hollywood debut in Neptune’s Daughter, one of the better Esther Williams extravaganzas. What can I say – they were top of the art in terms of technical excellence and innovation, but did not have back then, nor now, any big artistic merit. But they are nice’n’easy viewing for an afternoon movie session.

In 1950, Georgia actually had a speaking role in Buccaneer’s Girl, a movie low-budget, thin plot and mid tier actors – but still despite al of this a very amusing movie. Yvonne de Carlo plays the female pirate (while never a big talent, and IMHO not a particularly beautiful woman – I know many will disagree with me on this, but I just don’t find her attractive, De Carlo was superb for these swashbuckler roles and had a certain charisma).

Georgia then appeared in two very good movies: The Furies  and September Affair. Both are examples of superb classic Hollywood filmmaking, despite their relative obscurity today. The first one is a interesting psychological western centering on a dysfunctional but passionate father/daughter relationship (between Barbara Stanwyck and Walter Huston – two top actors!!!!). The second movie is one of the bets tear-jerker I’ve even watched – this is how sad movies are done, people! The story has to be a bit far-fetched (otherwise you’ll never get the over-the-top drama much movies need), actors should be top-notch and truly earnest in their roles, the direction should be unobtrusive and slightly, and their shoudl be plenty of truly emotional moments. September affairs has all of this and one. Joan Fontaine and Joseph Cotten are wonderful in their roles. Gorgeous music (the song, September Affair, was sung by Walter Huston!!! Love that man!!) and great cinematography are a well-earned bonus. definitely put this on your watching list if you like it elegant and tragic.

Georgia’s last movie was the mediocre Two Tickets to Broadway, which I have reviewed to many times on this page to make it relevant anymore…

PRIVATE LIFE

When Georgia came to Hollywood in 1948, there were serious tried to make her more accessibe to the public by mentionign the frequently in incocequencial articles, like this one:

The legend that fashion models get their pick of handsome he-men is a lot of bunk, a green-eyed beauty said today. All she ever meets on the job is a flock of balding grandpas with romantic ideas.. Georgia Clancy, speaking. America’s highest-priced bathing suit mannequin. She has red hair and enough curves to keep a strapless swim suit from slipping. She’s also an expert at broken-field running. “You have to be quick,” says Miss Clancy with a shrug of her bare shoulders. “A lot of buyers get lonesome on out-of-town trips:” Georgia spends her working hours strutting her stuff before the delighted eyes of middle-aged executives. ‘ “We don’t have to date the visiting firemen if we don’t want to,” she explained. “But we have to be tactful in brushing them off. “When some homesick gent asks me out I usually smile and say, ‘oh, I’d love to, but mother expects me home for dinner.’ ” If she knows he’s married, it’s even easier. “I just hint,” she purred, “I’m certain his wife wouldn’t like my alienating his affections.” And she usually can tell a wolf before he even has time to make a pass. “Then I twist my signet ring around so it looks like a wedding ring,” she said. “It also helps to tell him I’m married to an all-American football tackle.” Miss Clancy’s in Hollywood with two other models for Producer Hal Wallis’ “Bitter Victory.” They have the same troubles she does…

After her Hollywood career evaporated Georgia returned to modeling. Sadly, in the 1950s not many women over the age of 35 worked as models, and the same applied to Georgia. However, she was far from disillusioned – she seeker her fortune elsewhere, became the number one executive of A.P. Management Corporation, run by the even interesting Al Petker. Taken from a newspaper article:

If radio isn’t dead yet and it isn’t much of the credit for keeping its pulse going can be claimed by Al Petker, known in the trade as The Contest Man. There can hardly be a man alive who has not heard a Petker-inspired contest on air.  He services some 8,500 disk jockey shows on 1,800 radio stations and also takes care of 119 TV stations with his two going enterprises: Gifts for Listeners and Gifts for Viewers. Whenever you hear a promotion contest on the air with a variety of prizes clocks, radios, watches being offered, you can take odds that it was Petker who dreamed up the idea and Petker who supplies the prizes. The prizes, literally thousands of them, are stored in a warehouse in Beverly Hills. It is, in fact, the only warehouse in Beverly Hills, a city which is very touchy about anything more commercial than selling mink stoles or poodle haircuts. He has his warehouse there, plus a luxurious swimming pool-home. He even maintains cordial relations with the Beverly Hills post office which handles an average of 2,000 Petker-pushed parcels every month and writes him fan letters about the nice way he wraps and addresses them

Petker, who only two years ago was flat broke, is today quite wealthy. Al’s income, of course, comes from the manufacturers of the products he gives away through the disk jockeys. They pay him an annual fee, in return for which he sees to it that the product is handsomely mentioned on the air in such a way that it not only doesn’t sound hike a commercial but doesn’t cost what a commercial would cost. He has, made a legitimate, good business out of what used to be (and in many Instances still is) a low earnign industry in the broadcasting business. When, for example, a comedian’s writers build a Joke or a sketch around some commercial products, such as a refrigerator, the writers are quietly rewarded by the refrigerator pee-pic. Petker is only 37; stands an even six-feet and is handsomely mustachioed. He lives , with his wife and two children and. an 8-month-old Russian wolfhound, and runs his A. P. Management Corp. (along with a dozen other related corporations) with the help’ of Georgia Clancy. Clancy, as she is invariably called, is his executive vice president and would be the hands-down winner of any contest for the most fetching executive v. p. in the world. But the Petker people have no interest in winning contests. They just like to run them. Pays better that way.

Georgia was by all accounts never married and the papers never mentioned a significant other.

Georgia Clancy died on March 8, 1981, in California.