Poppy Wilde

Poppy Wilde, heralded as one of the most beautiful showgirls in Hollywood, was exactly that – a glorified extra in more than 40 movies, a pretty face used solely for eye candy. As you can well imagine, this was not a formula for career gold and she retired after getting married, but her life story is interesting, so let’s hear more about her!

EARLY LIFE

Jacqueline Ruby Wall was born on December 5, 1914, in Oakland, California, to Frederick Carl Wall and Olive Helen Chaffin. Her father worked as a railroad train-master. She was the third of six children – her older siblings were sister Mary Katherine, born on June 18, 1910, in Iowa, and William, who died just a few months after birth in 1912. Her younger siblings were Helen May, born on June 18, 1916, Florence Isabel, born on May 15, 1918, and Gladys Elaine, born on July 24, 1924.

Later obituaries claimed that her father was killed in a freak accident, leaving her mother to raise the children, but since he lived until 1940, let’s assume that he left Olive and she had to take care f the children single-handedly. Unable to take care of them, she eventually put some of them up for adoption. Jacqueline was adopted by her mother’s sister Isabel and her husband, John “Jack” Wardenberg, a well-off railroad executive in Salt Lake City, who didn’t have any children of their own.

While attending St. Maiys of the Wasatch, a private girls school, Poppy aired her own radio show. In 1929 a motion picture producer came to Salt Lake and took a shine to Poppy, with her beautiful silky black hair, ivory skin and dark, seductive eyes.The family moved to southern California so that Poppy could sign a studio contract, and that is how it all started!

CAREER

Ah, Poppy made more than 40 movies, which is quite a bit and I’m not gonna analyse them a great deal. She was mostly uncredited and appeared in really small parts.

I will just mention a few that are worth mentioning IMHO: Stand-In, a very funny and satirical exposee on Hollywood film making, with a superb cast of Leslie Howard, Humphrey Bogart and Joan Blondell, Angels with Dirty Faces, a classic crime movie with James Cagney and Pat O’Brien, members of our favorite Hollywood Irish mafia, Moontide, a proto noir and one of the few US movies Jean Gabin made, The Story of Vernon and Irene Castle, the last pairing of Ginger and Fred, Yankee Doodle Dandy, the classic musical with Cagney again, Road to Morocco, a Bing/Bob pairing deluxe, and Old Acquaintance, with tour de force performances by two divas, Bette Davis and Miriam Hopkins.

And that’s it!

PRIVATE LIFE

Poppy was quite tall with feet seven Inches, and weighed only 101 pounds. Here is a short quote from Poppy about her Hollywood life:

Off the set, while other beauties marched before the camera, she undertook to answer a question: What price movie glamour? “It’s a dull and strenuous life,” she said. “More dull and strenuous than anyone outside the Industry Imagines. “When I’m not at a studio, I’m at home by the telephone. From 6:30 in the morning until 8:30 at night the telephone and I are partners. At regular intervals, I call the central casting bureau on the chance there’s been an emergency opening. “I Just Go to Bed.” “It’s dull but true that if I hope to work often, say two or three times a week, I must stay near the telephone the rest of the time. “At night I’m too tired for dinners or parties or shows. I just go to bed.” On Sundays, Poppy is free to go out. She is 22 and on her afternoon dates has had three proposals of marriage. “No one has interested me enough to accept,” she said.

Poppy married Luther Verstergard on July 31, 1934, in Orange, California. Luther Raymond Vestergaard was born on December 7, 1902, in Chicago, Illinois, to Christian Vestergard and Maytha Hecker. He studied to become a lawyer, but the lure of acting was stronger, so he made his movie debut in 1925 under the name of Paul Power. He spent more than three decades playing a variety of bit roles that included one of King Richard’s knights in The Adventures of Robin Hood (1938), a Scottish highlander in I Married an Angel (1942), and a minister in Ma Barker’s Killing Brood (1960). He added television to his long resumé in the 1950s, appearing in such shows as I Love Lucy, Perry Mason, and Maverick. The couple divorced. In July 1946, he married Gertrud Elizabeth Warrington. He died on April 5, 1968 in North Hollywood.

Ruby married her second husband, talent agent Jack Crosby, on February 14, 1944, in Nevada. Jack Casier Crosby was born on September 7, 1903, in Elks, Nevada, to George Crosby and Lenore Casier, the oldest of six children. The family lived in Utah before they relocated to California, where he worked as a theater actor. Later he switched to the movie management business and was prosperous by the time he met Poppy.

Their son Dennis Brian was born on February 16, 1945. The Crosbys were very socially prominent in Hollywood, hobnobbing with luminaries like Fred Astaire, Lucille Ball and Dezi Arnaz. They were also quite outdoorsy – Jack loved to spend time in the open and rubbed it of into Poppy, who became a pro at fishing and was known to go salmon catching often. After Crosby got fed up with Tinsel Town in the 1960s, the couple moved with her to Coeur d’Alene, Idaho. Poppy stayed glamorous despite this change of scenery, and kept up with her old Hollywood peers, writing them voluminous letters and often visiting.

Strong willed and opinionated by nature, Poppy was also a very generous, kind person who could strike up a conversation with anyone, and was an excellent cook, her specialties being tuna sandwiches, spaghetti sauce and a tasty salad. She was a skilled crafts-maker, collecting dolls and painting rocks. Poppy also played ukulele and loved to sing.

Crosby died on January 14, 1979. Poppy was devastated and had to learn how to take care of herself financially – her husband used to do all the money stuff himself and Poppy had no idea how to manage anything. In order to earn her keep she became a hostess at the Coeur d’Alene cruises, giving history lessons and flirting with the clients. Pretty soon she was introduced to Victor Fehrnstrom. A romance bloomed and the couple was soon married.

Victor was born on February 6, 1922, in Manchester, New Hampshire, to Victor and Marion Fehrnstrom. Here is a bit about her third husband, taken from his obituary:

Vic had a long, fulfilling life. He began his life on a farm in Derry, N.H., where he enjoyed time with his brother, Ernie, and sister Marion, but was raised mostly in Boston and carried that accent forever. He served in the U.S. Air Corps during World War II and taught aircraft recognition to keep the Army, Navy and Air Force from shooting down our own planes.

After his service, he lived in California and worked for the Inglewood Police Department. He worked patrol and became a patrol Sargent, and later was a Sargent in the Detective Bureau. Vic retired in 1972 and moved with his wife, Carole and two children to Harrison, Idaho, where he farmed, logged and enjoyed his 40 acres. Years later, he moved to Blue Creek.

He moved for a short time to Prescott, Ariz., but his heart was always in Idaho, so he returned quickly. Not long after his return, he met his next wife Poppy, and became a Captain on the Lake Coeur d’Alene Cruise Boats. He loved working and/or captaining the Dancewana, the Mish-an-nock, the Kootenai, the Coeur d’Alene and his favorite, the Idaho. He enjoyed working the St. Joe River cruises, narrating tours and making sure everyone enjoyed their time on the boats. “Captain Vic,” as so many knew him, delighted passengers for almost 20 years. After he retired, he continued to live in Coeur d’Alene enjoying family and friends until his passing. He would’ve been 94 in just a few short weeks.

Vic was loving, caring, smart, brave, easy-going, charming and fun. His kindness and humor were always evident, his laughter was contagious. He loved his family deeply. He was an honorable man that was admired, was a role model to many, and someone that family and friends could always count on.

Poppy and Vic lived a happy life in Cour d’Alene, and enjoyed spending time with their families.

Jacqueline Crosby Fehrnstrom died on August 1, 2000, in Cour d’Alene, Idaho.

Her widower Victor Fehrnstrom died on January 11, 2016.

Patricia Alphin

Patricia Alphin came from a family that was deeply integrated into the movie business in Los Angeles, and it was no wonder that she wanted to become an actress. A poor man’s Jane Russell, she was a buxom, pretty girl, but sadly not talented nor lucky enough to cause any ripples in the treacherous seas of Tinsel Town. She had some odd 20 plus movies, and then retired after getting married.

EARLY LIFE

Patricia Cleora Alphin was born on 1927, in Phonerix, Arizona, to Harry Joshua Alphin and Bonnie Humphrey. Her father was a sound engineer, and due to his job the family moved to Los Angeles in 1929 where he started working for motion pictures studios. She had an younger sister, Harree Bonnie, born on March 10, 1931, and a younger brother, Harry Jr., born on August 27, 1935. Both of them were born in California.

Patricia grew up surrounded by movie people and wanted to become an actress from childhood. She attended and graduated from Burbank High School, and, as a true beauty, was active in the local pageant scene.

I don’t quite understand this, but in 1946 Patricia was crowned Queen of the Burbank Bethel of Job’s daughters. Confused? So am I. Anyway, here are some articles about it:

 Jobs Daughters Guests Of North Hollywood Bethel North Hollywood Bethel No. 110, Jobs Daughters, had as guests Bethel No. 97 of Burbank, April 6th at the North Hollywood Masonic Temple. The meeting was presided over by Joyce Hanzel, honored queen of North Hollywood bethel, and Patricia Alphin, honored queen of Burbank bethel. Both the North Hollywood and Burbank officers filled the chairs, with the Burbank’s girls as courtesy officers doing the work.

As a Queen, Patricia had certain social obligations that she did with gusto:

Patricia Alphin Hostesses Tea Featuring the Easter theme In the table decorations, Patricia Alphin, honored queen of Burbank Jobs Daughters, hostessed a mother and daughter tea at her home,  She was assisted by her mother, Mrs. Harry J. Alphin. At a tea table, beautifully appointed with a centerpiece of purple and white sweet peas,  Diane Swagler. Nancy De Celle and Donna Bell poured. Approximately 100 attended the affair.

After graduation, via her dad, Pat started working as a messenger at Universal International studio. She worked in the mail room and zipped around the lot with tons of letters. Literary, she was a female mailman 🙂 It was in this room that she she was was “discovered” and signed to a contract.

After several years of hard work, and many disappointments, Pat got her first big film break. She was given the feminine lead in Abbott and Costellos The Wistful Widow of Wagon Gap. But she was taken out of the role when she was rushed to the hospital for an emergency appendectomy. This derailed her a bit, but as you know, you can’t keep a good girl down, and she was up and running once again, ready for big things!

And off she went!

CAREER

Patricia had a sim career as she was almost never credited, but her filmography is interesting and varied and, what is very important, she didn’t fall into the low budget western trap like many of her contemporaries.

Her first movie was Idea Girl, a totally forgotten Julie Bishop/Jess Barker movie. Her second movie appearance was in Tangier, another completely forgotten Maria Montez WW2 spy movie (but Maria sure was something, definitely not an actress but a powerful personality who lit up the screen). Then came Night in Paradise, an absolutely ridiculous semi fairy tale movie with Aesop as the main character (played by the exotic Turhan Bey), and Merle Oberon, a favorite of mine, sadly completely wasted in a “sensual” role. Not much better was the shallow, stripped-bare crime movie Inside Job, about ex cons who are forces to do another robbery, and Lover Come Back, one of Lucille Ball’s lesser movies where she tries to get even with her philandering husband, played by George Brent (yes, since this was made under Code she doesn’t too anything to drastic, making this a insipid movie).

Patricia then appeared in the serial The Mysterious Mr. M, which, you guessed it, has been completely forgotten and overshadowed by more popular serials. Her movies got a bit better afterwards (but she still was not credited, mind you). White Tie and Tails was actually a charming comedy about a butler who wreaks havoc on the his’ employers house while they were away – you have Ella Raines and William Bendix in it, and I love both of these performers. Then came I’ll Be Yours, another fluffy musical-comedy-romances made by Deanna Durbin, who was so deeply stereotyped by then that she gave up Hollywood not long after (and moved to France, smart girl!).

Since they were at the same studio around the same time, it was logically that Patricia would appear in movies with Yvonne de Carlo. Their first “collaboration” was Song of Scheherazade, a weird biopic about Russian composer Rimsky Korsakov. If nothing else, there is tons of good music and Jean Pierre Aumont (who plays the leading role) is the typical charming Gallic actor, immensely watchable! Pat was then in the above average Abbot and Costello movie, Buck Privates Come Home. Patricia had a slightly bigger role in Time Out of Mind, the first US movie made by the British star Phyllis Calvert. The movie, despite being a box office miss and having some serious problems, is worth watching just to see Phyllis and Helena Carter playing two interesting female characters. And Robert Hutton!! I cannot express my disdain for such a man! In Hollywood, where there were tons of incredibly talented people that never made it, we have a stone-faced, no-talent man with average looks who actually managed to snag some good B class roles. HOW??? Please explain how? I don’t expect every actor to be Laurence Olivier, but c’mon, Robert is a total block of wood when acting, with no charisma what so ever!

Luckily, Patricia’s next movie The Web is a minor film noir classic with a great pairing of Edmund O’Brien and Ella Raines, and with Vincent Price and William Bendix thrown in for good measure. The movie is all about who is going to double cross who, and despite being a tad bit predictable, keeps you guessing. The movie’s strength lies in the strong cast assembled and in the very good black and white cinematography. Next up was Something in the Wind, a typical Deanna Durbin movie (fluff!).

Perhaps the best movie on Patricia’s filmography is Letter from an Unknown Woman, an expertly made, magical but utterly devastating film, a deeply felt lament that manages to touch the viewers on a profound level. The story of a one sided, unrequited love is expertly directed by Anatole Litvak and played to perfection to Louis Jourdan and Joan Fontaine. Pat then went on to more cheerful stuff with Up in Central Park, another Deanna Durbin movie but this time with more zest and spice, and dealing with more than just pure romance – it’s a semi socially conscious movie about corruption in turn of the century New York City. And it has Vincent Price in it!

Patricia scored another very good film noir with Larceny, a John Payne/Dan Dureya/Joan Caulfield movie. Basically, it’s a film about a film about con artists and their techniques with a bit of romance thrown in, and it’s almost educational in this aspect. Pat then appeared in a mid tier Abbott and Costello movie, Mexican Hayride. Next she played a secretary in the very first Ma and Pa Kettle movie, Ma and Pa Kettle.

Up next was Johnny Stool Pigeon, a mid tier film noir with Howard Duff playing an agent who infiltrates a crime organization – always the same plot, but with a good cast and decent atmosphere, it’s an okay effort.  Then came Yes Sir, That’s My Baby, a part sports part ‘battle of the sexes’ drama/comedy film, focusing on the conflict between the desire of college student fathers to play on the football team vs. their responsibilities in providing for their family and helping care for their babies. It’s nothing special, but Donald O’Connor has a few nifty dances in it, and Gloria deHaven and heavenly as always.

Pat’s last movie for Universal International was The Gal Who Took the West, her second Yvonne de Carlo feature. As with most of Yvonne’s movies, it’s a lusty, sensual affair with no great story and little to no character development, but hey,

Expect a small uncredited role in 1980 (in The Return), that was it from Pat!

PRIVATE LIFE

Some of the tidbits Patricia told the papers: “The first thing I wanted when I graduated from high school was a fur coat. It makes a young girl feel that shes really grown up, and it makes that impression, too. You feel good in it, no matter what kind.

Patricia married her high school sweetheart, John W. Moorman, in a ceremony at 8 p.m. on June 28, 1949. The wedding was not without mishaps: Bonnie Alphin, Pat’s sister, lay on a stretcher as she served as bridesmaid because she was injured in an auto accident en route to the church. An ambulance took Bonnie from the scene of the crash to the church where and after the ceremony Bonnie was whisked to a hospital for X-rays of a back injury. Bonnie later recuperated fully.

A bit about the groom. John William Moorman was born in Los Angeles on December 28, 1926 to Paul Samuel Moorman and Aida Stephens. During the war he was an Air Corps member, and later attended Occidental College. The couple honeymooned in Mexico City.

The Moormans settled in Los Angeles had two children, a son, John Scott, born on May 14, 1951, and a daughter, Julie Kathleen, born on September 2, 1954. Little is known about their life, they continued living in Los Angeles, with Patricia long retired from movies.

Patricia and John divorced in September 1974. Moorman remarried to Marilynn Barber in 1976 and died on November 9, 1995.

Sadly, Scott Moorman, Pat’s son, died before his mother in unusual circumstances. He was a very gifted athlete and a Monroe High School running back. After get married, siring a son and getting divorced, he moved to Maui from Granada Hills in the mid 1970s and was an active sailor. In 1978, he went missing while on a fishing expedition, and his skeleton was found 10 years later on the Marshall Islands. It is possible that he lived like Robinson Crusoe on an deserted island for years. This is an incredibly intriguing but somber story, and learn more about it on this link: One dusty track.

Patricia falls out of the radar from then on, and I have no idea what happened to her. As always, I hope she had a good life!

Ila Rhodes

Ila Rhodes was a pretty blonde who got to Hollywood via the Pasadena Playhouse, and who expressed a wish to seriously act (she studied drama at college). Too bad it never came that far – she did a few small roles and then gave up movie altogether to get married. Her Tinsel town highlight was dating Roland Reagan, and this got her five minutes of fame in the 1980s, after he became a president. Let’s hear more about her.

EARLY LIFE

Ila Rhodes was born on November 17, 1913, to William Allen Rhodes and Birdie E. Baley, in Marion, Missouri. Her father was an engineer. She was the youngest of six children, where her oldest siblings were really older than her – her brother Ernest and Omar were born in the 19th century (in August 1892 and July 30, 1895 respectively)! Her other siblings were Sarah, born on December 21,  1903, Nancy Ethel, born in April 5, 1906 and Charles, born in 1909. Sadly, Ernest died before Ila was born, probably in 1910. The family moved to Oklahoma when Ila was a little girl, and by 1920 they were living in Ottawa, Oklahoma.

Ila had a normal middle class childhood, even if it was a bit hectic. Namely, due to her father’s work, she moved a great deal and attended grammar school in Okmulgee, Hitchita, Checotah, McAlester; all in Oklahoma, and Fort Smith, Ark. She went to high school in Atoka, Muskogee, Tulsa, and later attended university at Oklahoma City (all four years). At the university Ida majored in dramatics, got a groundwork in Shakespeare and other classics.

Later publicity claimed that Ila’s full name was Ila Rae Cornutt, and that she was of Cheerokee Indian descent, but since they made up a great chunk of young starlet’s histories, I wonder if this is true. Not only was her surname not Cornutt, but she was born in Missouri, not Oklahoma. Although it could be she had some Cornutt family connection, but can’t be sure. Here is the article:

Permanent Blonds But if Ha’s a vanishing Indian (out of this school and into that one), she’s not a vanishing blond. Her family is a durable exception to the new scientific theory of “perishing blonds.” This theory holds that bruneta are gradually absorbing blonds. The blondness in Ila’s family is so strong that it erases competition. In the family tree is a great maybe even a great-great grandmother who was full-blooded American Indian. “Rust-Proof” Legend says that from the union of a blond, Dutch-English white man and an Indian’ maid came one child who had flaxen hair and blue eyes the first of the “non-rusting” blonds in the Curnutt clan. Ila’s pink-and-white complexion won her a role without a screen test in “Women in the Wind.”

No comment on that. Anyway, after graduation from college, Ila started to act in the Pasadena Playhouse and attended their dramatic school. Following graduation the dramatic school, she was noticed by Arthur Lyons, Warner Bros producer, and after a successful screen test signed a two-year contract with Warner Bros and her career was go!

CAREER

Ila appeared in only 6 movies. She was uncredited in Off the Record, a Joan Blondell/Pat O’Brien combo movie.  The two leads are dynamite together (playing newspaper people) and Joan is her usual cute but tough broad, but the movie is a low budget B class film and it shows in the short running time and too much stuff meshed into it. Part newspaper film, part drama and part romance, ti doesn’t really work, but as I said it’s worth seeing for Joan and Pat alone. They don’t make them like this anymore!

Ila was given a leading role in Secret Service of the Air, the first movie Ila appeared with Ronald Reagan. It has a very thin plot: Brass Bancroft and his sidekick Gabby Watters are recruited onto the secret service and go undercover to crack a ruthless gang that smuggles illegal aliens. As one IMDB reviewer notes, this film contains just about everything you could possibly fit into a 61-minute movie: a prison break, car chases, shootouts, bar fights, a love story, brawls, various plane chases and much more. Typical for a B movie of the period, where more was considered more.

Next was Women in the Wind, one of the movies that Warner Bros made Kay Francis do that that their prized star, who was paid thousands a week, would quite before her contract expires. Thus, we can assume it’s not a particularly good movie. Ila then appeared in a small role in Dark Victory, the Bette Davis weepie classic of 1939, with George Brent and  Humphrey Bogart thrown into the mix. The story is well known: a socialite discovers she has an inoperable tumor and has to change her whole life before her time comes. Bette excelled at these kind of roles, and the supporting cast is wonderful, so overall it’s a very good movie.

Ila’s last movie was Hell’s Kitchen. The Dead End Kids star in this remake of The Mayor of Hell and Crime School, with Ronald Reagan and Margaret Lindsay as obligatory grown ups support. Nothing to write home about, but does have some socially conscious moments and it’s one of Ila and Ronnie’s movies together!

That was it from Ila!

PRIVATE LIFE

Ila was five feet five, weighting 112 lbs in her prime, and shaved 4 years of her CV when she was signed by Warner Bros. Growing up in Oklahoma, Ila was something of a bronco-busier. She didn’t tell Warners about that at first, because she was afraid she’d be cast in westerns and have to hide her pretty figure in a pair of chaps.  She also told the papers that she dieted on baked potatoes and skimmed milk when she wanted to lost a few pounds. She was best friends with Margaret Lindsay and Marie Wilson, and the three often sipped drug store ice cream sodas like a trio of high school girls. She also wore two old-fashioned hat pins with garnet beads she found among her mother’s keep-sakes.

Here is a bit more about Ila: She likes to sing and dance and does both well. She’s a fine horsewoman, a fact she concealed for a time fearing to be typed westerns. She plays’ tennis and dances to keep fit, diets mildly, attends the Methodist church, drives a two-year-old car, doesn’t care for jewelry. She rises early, saves her money and reads a good deal. Her best friend Is Ida Lupino. Her natural ‘blond hair and startlingly blue eyes are the kind that delight cameramen. She also gave a recipe for a special bleaching masque. To a whipped up egg you add the juice of a big lemon, then apply it to your face and leave it on for a half hour. Take two facials each week.

If Ila is indeed remembered today, it’s because she was, allegedly, engaged to Ronald Reagan, then a young actor in the Warner Bros roster. It was the year 1937/38, she was around 21 (officially, but actually about 25) and he was around 30. Their budding romance consisted of lunch-break trysts and stolen weekends together. Ronnie used to take her for hot dogs and he had a no-smoking, no-drinking, no-dancing stance, preferring simple things like taking long walks and talking.  Ila would later say of him: “Ronnie was very attractive, and I enjoyed our weekends out together. I became engaged, with a ring on my finger, when fame started to affect us. The fans started to multiply.” Allegedly, Ila tried to sell some tall tales to Ronnie, claiming she was related to some old guard, wealthy aristocrats, but it remains to be proven either false or true.

The engagement lasted eight or nine months, when Warner Bros moguls decided romance between their stars was bad for box-office business, and started pressing Ronald to give Ila up. They used any means necessary to do it. Arthur Lyons, the Warner producer who had discovered Ila, started taking her to celebrity get-togethers and fashionable nightclubs. Bit by bit, this erosion  led to the break-up. Ila recalled later: “But it was elegantly done. He grew distant, withdrew a little, giving me plenty of room to take any kind of decisive step. And then we decided to face facts.” Shortly after the couple split they both married, Reagan to actress Jane Wyman and Rhodes to Lyons. Anyway, Ila and Lyons planned their wedding to be a Mexico City double-wedding with Ida Lupino and Louis Hayward getting  married with them.

Thus, in Ila traveled to Yuma. Ariz., to be married to her agent, Arthur Lyons. Lyons was born on May 27, 1906, in Russia. Little is known of his early life. He became an talent agent with his brother Sam representing such stars as Joan Crawford, Ida Lupino, Lucille Ball, Ray Milland and Jack Benny.

They started happily, looking for a new house and so, but the marriage was not to last. Lyons and Ila separated in June 1940, and divorced in November 1940, and court awarded her $500 a month for the rest of this year. Lyons remained a prominent agent and producer, and remarried in 1961 to Winifred Gilbert. He died on July 26, 1963.

After her divorce, Ila left Hollywood, hoping to revive her fledgling acting career. She went to New York to act on the legitimate stage. Her first and last role on the stage was in “Goodbye My Love”. Then, in mid 1942, Rhodes met a man at a dinner party in i Washington. In October 1942, they made their relationship public by appearing at the swank 21 club – Ila on the arm of Air Corps Brig. Gen. Bennett Meyers. Meyers was considered quite a catch and Ila was allegedly envied by tons of glamour girls. Meyers was high up in the military and was a powerful man who enjoyed friendships with other powerful men, and it seems that Ila was ready once again to give up acting to take up the mantle of domesticity. On February 14, 1943, they were married at the Marble Collegiate Church.

Here is a bit about Bennett:

Bennett E. Meyers was born in Buffalo, N.Y., in 1895. During World War I he enlisted in the Aviation Section of the Signal Reserve Feb. 2, 1918, and served as a flying cadet until June 22, 1918, when he was commissioned a temporary second lieutenant in the Air Service, serving continuously until he was commissioned in the Regular Army as a second lieutenant, Air Service, to rank from July 1, 1920.

He completed ground school at Berkeley, Calif., and flying school at Rockwell Field, Calif., remaining at the latter station after being commissioned. He transferred to Love Field, Texas, for duty in various staff capacities from July 1919 to November 1920, when he became commanding officer of the Surplus Property District at Detroit, Mich. When this was completed he undertook a similar assignment at Buffalo, N.Y., in the following September, and became commanding officer of the Air Reserve Depot there.

He moved to Luke Field, Hawaii, in September 1923 for intelligence duties until July 1924, when he joined the 23rd Bombardment Squadron. In June 1927 he was transferred to Wright Field, Ohio, for procurement duties. He was away on temporary duty from November 1927 until February 1928 to take the special observation course at the advanced flying school, Kelly Field, Texas. He returned to Wright Field for procurement planning duties, becoming chief of the Plans Division of the Industrial War Plans Section.

He was assigned to the Army Industrial College, Washington, D.C., in September 1929, and graduated in June 1930. He then returned to Wright Field as chief of the Plans Division, Industrial War Plans Section. He was detailed to the Babson Institute, Mass., in September 1931 and graduated in June 1932 with “high distinction” and was valedictorian for the class. He remained there for post graduate work for another school year until June 1933 when he again returned to Wright Field as executive to the Field Service Section. In 1935 he established the Budget Office at that field and was budget officer and chief of that division until September 1940 when he was transferred to the Office of the Chief of Air Corps as assistant executive. He became executive officer of the Materiel Command in that Office in November 1940, and in March 1942 was named deputy to the Assistant Chief of Air Staff of the Army Air Forces.

He assumed command of the Materiel Command, with headquarters at Wright Field, Ohio, in June 1944, and the following month was named Deputy Director, Army Air Forces Materiel and Services at Patterson Field, Ohio (later redesignated Air Technical Service Command, with station at Wright Field, Ohio). In May 1945 he assumed command of the Air Technical Service Command. He retired in the grade of major general.

He was awarded the Distinguished Service Medal and Legion of Merit and was rated a senior pilot, combat observer and technical observer.

He was dismissed from the service of the United States by President Truman July 16, 1948, after conviction of a felony.

Ila and Bennett lived the high life, and had three children: twins Arnold and Damon, born on February 26, 1944, and Ila Jr., born on February 24, 1946. But it seems the salad days were not to last, as Meyers was privy to enough to make himself some dough, on the side, and not in a ethical or indeed legal fashion. Here is the article:

Gen. Bennett K. Meyers. head of the Army Air Force wartime procurement. 1 about to get hit with a bag of wet cement when the Ferguson-Bretr-Hughee war contract Investigation reopens Monday. “Benny” Meyers, m the 48-year-old purchasing official la generally known, will be slapped with a receipted hotel bill, showing . he accepted more than , 11,000 worth of weekend entertainment from vHow-ard Hughes., via his fat bagman, Johnny Meyer. The hotel bill, from the swanky Town House in Los Angeles, will be produced by Senator Homer Ferguson, of Michigan, who will ask the general why he accepted favors from a man who ‘ was trying to get army contracts. General Meyers, who married Ila Rhodes, a movie actress about half his age four years ago, enjoyed a very expensive weekend at the Town House with his wife. The ten shows it was lifted by the ubiquitous Johnny Meyer with one of his famous “okay to pay” notations. Without realizing it, I have been sitting on most .of this story since the Hughes investigation opened early in August.

Ila stood by her husband, getting papped daily in the courtroom, and often being called the general’s ultra sophisticated, very chic younger wife. Guess the publicity wasn’t that good, and Ila came around as quite a shallow money digger – the press obviously twisted the story according to their own agenda. Anyway, Bennett was found guilty on three counts of subornation of perjury, and faces a maximum 30-year prison term. In the end, he was interred in Wasghington, DC.

Ila was under siege after the trial, and she tried to make a normal life for herself and the couple’s children. Sadly, the press didn’t let her – a few months later, she was discovered modeling In a Manhattan fur salon under her maiden name. She was unhappy about the publicity but said she took the job because She needed money to support her three children, and she wanted to be near Washington, D. C., where for one hour each week she is allowed to visit her husband, in jail for perjury. .She allegedly told a reporter: “Jeepers! They didn’t know who I was when they hired me. Maybe Ill be looking for another job tomorrow”. Yep, Ila tried but they were not really forthcoming.

IMDB claims that Ila died on December 10, 2012, in Glass Valley, California.

 

Clarice Sherry

Clarice Sherry was a promising, talented small town girl reared to become a successful actress. Sadly, despite all of her talent Hollywood just didn’t embrace her and she retired after just a few years of working. Let’s learn more about her.

EARLY LIFE

Clarice Marie Shierry was born on December 21, 1914, in Hawkeye, Iowa, to Leon Shierry and Etta C. Brukhart. She was their only child. Her father was a barber who had his own barber shop, her mother designed hats and dresses (including those worn by her daughter in the future).

The Shierrys spent the first four years of Clarice’s life in Hawkeye, then they lived in Mason City for two years before the family went to Los Angeles, California in 1928, where Clarice attended high school and junior college. A striking blonde, Clarice had  been carefully reared by her parents, with much love. Although she early showed signs of artistic talent, she was not allowed to commercialize it nor to make public appearances during her school life, except in recitals with other pupils. Piano and dancing lessons were part of her education, which was obtained in a Los Angeles private dramatic school.

Due to her beauty, she was chosen to model gowns and to pose for automobile advertisements. Her face has also appeared on magazine covers. In March, 1934, Warner Brothers signed her for her first chorus work, and she has made progress ever since. She appeared in choruses in Dames, North Shore, Sweet Adeline, Gold’ Diggers of 1935, Go Into Your Dance, Sweet -Music and others, then took a voice test in the summer of 1936. That test resulted in a passing grade of 100 per cent, and she went into the speaking parts.

CAREER

Clarice appeared in a string of musical movies as a chorus girl. She was featured in three Sonja Henie movies – One in a Million, Thin Ice and Second Fiddle. Since my dislike of Sonja Henie is more or less obvious if you read this blog, let’s just let it slide.

Other musicals that Clarice appeared in are: The Girl Friend, a totally forgotten Ann Sothern musical, Sing, Baby, Sing, a weak and not very memorable Alice Faye vehicle, Broadway Melody of 1938, a typical pastiche musical with Robert Taylor, playing a non-singing guy, trying to act out a flimsy story about a Broadway producer, but everybody is watching Eleanor Powell, Judy Garland and Sophie Tucker singing and dancing, Kentucky Moonshine, a abysmal Tony Martin musical with the Ritz brothers supplying (or trying to) some minor comedy, Alexander’s Ragtime Band, perhaps the bets musical she made, a Alice Faye/Tyrone Power classic with a great deal of Irving Berlin songs, and Honolulu, a charming Eleanor Powell movie with an idiotic story but good dancing.

Clarice had bigger parts in non musical movies, and if she’s even remembered, it’s for them. We have The Emperor’s Candlesticks, a witty, urbane spy-romance movie with William Powell and Luise Rainer (with that superb pairing, anything goes!), Man-Proof, a champagne comedy with Myrna Loy playing a unhappy in love girl trying to woo the desire of her heart and Franchot Tone trying to stop it (and wooing Myrna, of course), the absolute classic The Women, and Fast and Furious, which, despite it’s intense name, is actually a light murder mystery, with Ann Southern and Franchot Tone’s zany marriage being the core value against a meh plot and a lot of pretty young women in bathing suits (Clarice among them).

Clarice’s last movie deserves a special mention. Flash Gordon Conquers the Universe is a cult classic, as are most Flash Gordon movies. Whatever one may think of Universal series, this one is of a pretty good quality. Buster Crabbe was made to play the heroic Flash Gordon and Charles Middleton makes an incredible Ming. However, it is the action sequences that are the true highlight here. Watch it! Clarice had a small part as Queen Grend,a but at least she’s visible!

That was it from Clarice!

PRIVATE LIFE

Clarice was 5 feet 5 inches tall, and had glorious hair famous around Hollywood. It was pale natural blond, waved slightly and went all the way to her waist. Here is a funny story about Clarice’s adventures in Hollywood:

“It’s a great life if you don’t weaken,” gasped Clarice Sherry, when shooting stopped for a moment on “The Great Ziegfeld’ set the other day “But I’m distinctly wakening.” h added. The i costume she bad on weighed only 102 pounds. It’s for a very elaborate promenade and posing number. It is called “Northern Light” and Is made of 2,000 yards of pleated tulle and 700 large pear-shaped crystals. The former Hawkeye-Mason City girl has to wear special shoulder pads with it

Her private life was very stable. Clarice married Sidney D. Lund, technical executive at Universal studios, in a secret elopement to Reno in 1935. The couple hurried back to Hollywood the next day, so that Clarice could obtain a screen role in a new picture in which she appeared with Melvyn Douglas, Virginia Bruce and Warren William. Afterwards the Lunds establish residence in Los Angeles.

Sidney Lund was born on January 10, 1905, in Los Angeles, California, to Burton Lund and Abby Holt. His parents divorced and both remarried, and he had a maternal half sister and half brother, Mary and Conrad Klemm. He was trained as an electrician and became a movie technician for Universal Studios. He was married once before , to dancer Sada E. Hindman, on May 3, 1930 in Los Angeles. They had no children and enjoyed a very tempestuous marriage with at least one major scandal – in January 1931, Sada accused actress Dorothy Janis with stealing her husband’s love while the pair were making a picture in the South Seas. After much drama, Sada dropped a $25,000 alienation of affection suit. Dorothy and Sidney did not end up together, as she married Wayne King in 1932, so I guess Sada and Sidney made up. After more ups and downs, Sada finally divorced Sidney in 1933, charging desertion, nonsupport and cruelty.

Unlike his first, Sidney’s second marriage worked like a charm. Clarice retired from movie work, and dedicated herself to family life. The couple had a son, Gary Robert, born on October 18, 1940 in Los Angeles. Sidney continued working in the motion industry.

The Lunds enjoyed a happy union, lived in a two stories high residence in North Hollywood, had many good friends and were able to travel widely and saw a great deal of the world. Clarice also painted many beautiful pictures and portraits, and loved Oriental art and gardening.

Clarice Sherry Lond died at the ripe old age of 98 of an aneurysm on October 4, 2012 in Los Angeles. She is interred at Forest Lawn Memorial Park in the Hollywood Hills.

Agnes Craney

Agnes Craney was one of the girls who landed in Hollywood not thanks to her extensive dancing skills, nor her modelling career, nor indeed any acting prowess – she won her entry into Tinsel town via a publicity stunt! As you can imagine, that’s one of the worst ways you can gain entry into movie,s since you have no bankable skills and being pretty just ain’t gonna cut it in the town where hundreds of pretty girls arrive every day. As you can guess, Agnes made only two movies, married and retired to raise a family. Let’s learn more about her! (sorry for not having a close up of Agnes, she is in the photo somewhere!)

EARLY LIFE

Agnes Jane Craney was born in 1917 to George Thomas Craney and Pearl Winifred Morss in Madison, South Dakota. She was the third of four children: her older siblings were a brother, Morris Charles, born in 1911, and a sister Leone, born in 1915. Her younger sister was Rita, born in 1922. Her father worked as a real estate salesman. The family moved to Long Beach in the mid 1920s for her father’s work.

Agnes grew up like any normal, middle class girl in Long Beach,  and attended the Long Beach high school. What set Agnes apart from her peers was her obvious beauty and her star-stuck dream of becoming an Hollywood actress. And something massive happened when Agnes was just 17 years old and a junior in high school. She applied for a “Search for beauty” contest that was promoted all over the US. It was an instant gateway to Hollywood for a few lucky ones who won the coveted title of Beauty.

Agnes and Jack Jenkins, 205-pound Beverly Hills High School star tackle defeated some 100,000 rivals In the contest a “Search for Beauty.”, and they were awarded contracts with the Paramount film company as a result of the proceedings. It was noted that Agnes’ measurements most nearly correspond to the average of the fifteen most beautiful girls. She Is more slender, more graceful and more compact than the ancient Grecian goddess of love, Aphrodite, just as Jack was bigger than Apollo. How did they know the measurements of Aphrodite and Apollo is left open for debate, but it’s a publicity ploy much like any other from that time.

It appeared that Agnes was slated for big things in Hollywood, and her career started!

CAREER

Agnes appeared in only two movies in her career. The first one was Search for Beauty, the movie that was more ballyhooed in the press and in the beauty pageant circuits than it has any artistically or indeed any merit. But there is plenty of nude girls, sexy dances and sensual stuff if one likes it. Never again will classical Hollywood make such carnal musicals, with such visceral scenery and atmosphere. Ah, Busby Berkeley and his kind although he didn’t make this movie)! Agnes played one of the beauty winners of course.

8 Girls in a Boat is a more interesting fare. While not a masterpiece by any stretch of imagination, it’s a solid movie dealing with a topic Hollywood made taboo after the production code was kicked in high gear – unwanted underage pregnancy. Dorothy Wilson is a student at an exclusive girl’s school, and a member of the shell racing crew (hence the 8 girls in a boat). She gets pregnant by chemistry student Douglass Montgomery, but he doesn’t have no money to marry her. The movie deals with the aftermath of this situation, and featured Kay Johnson as a sadistic, brutal rowing teacher, a acting highlight of the movie. Dorothy Wilson, a much underrated actress, is very good in the leading role, but sadly Agnes played one of the school girls and is very blink and you’ll miss her.

And that was it from Agnes!

PRIVATE LIFE

Agnes gave a beauty hint to the papers:

I find exercise one of the most important factors in keeping the figure beautiful and the body fit. Swimming is my favorite exercise. But, in swimming, es in ether forms of sports care must be taken not to over-do. Too much swimming may over-develop the muscles.

Let’s reflect on the way Agnes got into Hollywood. While the Search for Beauty did give us one wonderful actress (Ann Sheridan), the bigger question is were these kind of pageants harmful for people int he long run? It seems to me they were. They gave false hopes to a plethora of young, inexperienced people, who had little to recommend themselves, that they can make it. And they can, but everything is stacked against them. While I am sorry to be perhaps a bit harsh, but the majority of girls who came to Hollywood because they looked good did not have an ounce of acting talent, and often did not work even one iota to posiblys remedy this disadvantage. They would last for a few months at most, then had to find other jobs, go back home, maybe be ostracized and generally suffer a period of depression since their dreams didn’t’ come true. Of course, it’s impossible to generalize, but this happened to more than 90% hopefuls who came to Hollywood in the 1930s, and most girls on this blog shared such a fate. We can have nothing but respect for any girl who has enough grit and guts to leave home and try to be something but a housewife, plunging head on to Tinsel town and hoping for the best was like trying to win a lottery. A few lucky ones would make it, most of them would not. Point is, it was much better to be a trained actor with some experience if you wanted to make it. Even if Hollywood rejected you, you could always do theater, summer stock and so on. Looking good usually isn’t enough, even for such a shallow town like Hollywood was (and still is).

Back to Agnes. Agnes married Wiliam Norton Hilliard on July 14, 1936, in Los Angeles. Hilliard was born on June 6, 1912, to Salvester Elven Hilliard and Emily Crave Norton in Colorado, the second of four children (his siblings were Charles, born in October 17, 1908, Eleanore, born on August 18, 1918, and Richard Francis, born on June 2, 1921). his father was a building contractor, and the family lived in Iowa for a time, before moving to California, where Hilliard started to work.

Hilliard was a store minder for oil supply machinery. The couple had three sons: William Norton, born on May 39, 1938, Gerald Thomas, born on January 4, 1940, and Michael John, born on May 25, 1948. After living for years in California, they moved for Hilliard’s work to Texas, where they stayed after William retired.

Agnes Craney Hilliard died on November 19, 1989, in Montgomery County, Texas.
Willian Norton Hilliard died on November 15, 2007 in Conroe, Texas.

Mary Jo Mathews

Mary Jo Mathews did not go down the usual starlet route. A fine Southern miss, she was a college graduate who first seeked her fame in the theater, and only by chance ended up in Hollywood. Sadly, Hollywood, did not work out for her, but she married a successful agent and led a happy family life. Let’s learn more about her!

EARLY LIFE

Mary Josephine Mathews was born on April 11, 1909, in Mannington, West Virginia, to Harry J.  and Blanche Mathews. Her older brother, Marshall, was born in 1904. Her father owned a drug store. The family was well of, lived in Mannington and employed at least one maid. Mary grew up like any other upper middle class Southern girl, and it was clear from her teen years that she was a stunning beauty with a strong penchant for dramatics.

After graduating from Mannington high school, Mary enrolled into the West Virginia university at Morgantown. Mary, a lush brunette with a soft Southern accent, was a hit with the lads, and in 1927, when she was a sophomore, she was voted the most beautiful girl student on the campus.

Next year, she was chosen by the students as “Miss’ “West Virginia University, and not long after, was named by Governor Conley as West Virginia’s representative at the annual rhododendron festival at Asheville, and later  attended the Shenandoah Apple Blossom festival in Winchester in the spring of 1929 as “Queen Shenandoah VI” . It seems that Mary really did do extensive social rounds and was very successful in those stakes. Back then, Mary Jo planned to become a school-teacher and received an AB. degree from the University of West Virginia. Then She won the Winchester Ky.) Apple Blossom Festival prize for beauty in 1929, after which she went to New York, married an actor and decided to become an actress herself, and there was no turning back!

Mary Jo became a member of the cast of “The Band Wagon,” Broadway’s revue success, and starred the head of a road company which was presenting one of the George White’s Musical company. Then she was a member of the cast of “Let ‘Em Eat Cake“. In the interim, Mary worked as an understudy. In a later interview she claimed that to became an understudy one had to be at least three times as talented as the leading lady to get the job.  At one point, Mary was understudying three roles – for Adele Astaire, the dancer; Roberta Robinson, a singer, and Helen Carrington, comedienne. Naturally, Hollywood noticed her, and she was signed to a contract, and of she went!

CAREER

Mary Jo made her debut in Twentieth Century, one of the funniest comedies of the 1930s, with the unbeatable combo of John Barrymore and Carole Lombard. No comment needed, just watch the movie and laugh! Barrymore is such a large ham you can’t help loving him, and Lombard is a pixie charmer to boot!

Mary Jo played a small role in Society Doctor, here is a review from Imdb: Morris plays a hotshot young Dr. Morgan in a metropolitan hospital, and Taylor is Dr. Ellis, his friend, who is a little less ambitious. Instead of being laser-focused, he wants to enjoy life, too. Both of them are interested in the nurse Madge (Virginia Bruce). She’s in love with Morgan but he’s too dedicated to get involved with anything but medicine. Ellis, however, makes a big play for her. When Morgan gets in trouble with the head of the hospital, he contemplates becoming a society doctor, and a patient (Billie Burke) offers to set him up in practice.

The movie is actually interesting as we have on unlikable main character, played by Morris as a hotheaded, stubbornly foolish all-too-focused doctor, and a young and stisl not quite polished Robert Taylor as his friend/rival. Virginia Bruce is as lovely as always, too bad she never became more than a B class star. Mary Jo’s next movie was the completely forgotten One New York Night.

Mary than appeared in tow movies that are well known and regarded today. The first one was Reckless, a William Powell/Jean Harlow drama, based on the infamous Libby Holman/Zachary Reynolds case. The movie starts of as a sparking comedy, a genre which Harlow excelled in – she’s tops, and Powell and May Robson, as her support, are in a high class too. However, the movie turns into a over the top melodrama in it’s second half, and this jarring change of pace somehow kills the overall effect, although it’s watchable and not at all that bad. Franchot Tone is impeccably elegant as a wastrel playboy who lusts after Harlow, and Rosalind Russell has a small role (which is always a plus, when Roz appears in a movie). Mary Jo plays a chorine.

The second movie was Mad Love, based on a book, with an implausible plot (taken from an imdb review): Dr. Gogol (Peter Lorre) is a brilliant surgeon who is obsessed with actress Yvonne Orlac (Francis Drake). She tells him she is leaving the stage to be a full time wife to her husband Stephen Orlac (Colin Clive), a concert pianist. Gogol is crushed. Stephen Orlac loses his hands in a train wreck. At the request of Yvonne, Orlac grafts on a new pair of hands to Stephen. Unfortunately, they happen to be the hands of Rollo, an executed murderer who loved throwing knives. It seems the hands have a life of their own–Stephen can’t play the piano anymore but can throw knives accurately and he has a desire to kill. He slowly starts to go crazy. Gogol again tells Yvonne that he loves her. She rejects him and Gogol cracks. He sets out to drive Stephen mad–and drive Yvonne into his arms.

But, as the reviewer wrote, the plot is completely secondary to the sheer brilliance of Peter Lorre, absolutely killing it as the man doctor. Whenever he’s on the screen it’s impossible to even look at somebody else, such is his magnetism! The movie also gives a good role to Colin Clive, a tragically underrated actor whose career never gave him the chance to truly shine. Frances Drake is nice enough as the doctor’s object of desires. The movie is very good at conjuring a non-bloody horror feeling, and stands very well today. Sadly, Mary Jo was literary just an extra and the role made on impact on her career. She only made one more short movie before retiring.

And that was it from Mary!

PRIVATE LIFE

Mary was musically inclined and knew how to play the piano and the organ. As a special peculiarity, she also broke mirrors for good luck.

Mary married her first husband, Charles Coleman, in Marion county in 1929. Charles Bradford Coleman was born on August 14, 1905 in Pratt, West Virginia to Charles Bradford Coleman and Margaret Caldwell Frazer, one of three children. Mary and Charles tried their luck together in New York, lived for a time in Chicago (guess for work related reasons) in 1930, but the marriage did not work out and they divorced in 1933. Coleman went to Hollywood and acted under the name of John Bradford. He had credited roles in movies like 365 Nights in Hollywood and Life Begins at 40, but gave up movies in 1937. He died on June 29, 1993 in  Charleston, West Virginia.

When she came to Hollywood, Mary Jo had a pet dachshunds and often hung out on the beach at the Del Mar Club, Santa Monica. While in Tinsel town, Mary was tutored by dramatic coach Earl Hinsdell to become a star. Here is a short description of the process:

Mary Jo Matthews is one of the “students” who. in Hinsdell’s opinion, will reach stardom in three sears. of years no difference, as a real star will stano out in any picture. “I regard the preserving of individuality as most important in my work of coaching is to be willing to train potential stars for that length of time longer if necessary. This trio is comprised of Agnes Anderson, Mary Jo Matthew and Margaret Ehrlich. Hinsdell has his own method of training, which may be at variance with the ideas of other coaches but it has proved rather successful so far. Myrna Loy. Jean Parker and Robert Young all are graduates of his school. When Myrna Loy went to him about a year and a half ago she was practically through in pictures. For years she had been cast in exotic siren role. He detected a flair for light comedy, developed that quality and launched her on a new career which already has carried her far beyond any goal she had been able to attain before. First of all. this instructor refuses to put his students through a routine training which stamps them all alike. For the most part he trains them individually. However, he frequently brings them together in groups to give them the fundamentals of timing, shading and the ability to fit their voices to those of their co-workers. He also insists that all of his students take singing lesson, the theory here being that the singing and speaking voice really is the same and the development of one helps the other. “Then there are long periods of reading aloud to develop round tones. “It sounds strange, but I am quite insistent that my students go to art galleries and study the works of the old masters,” declares Hinsdell. “I also advice them to acquire a knowledge of the history that is behind most of these great works. “Such a procedure seems remote to most of the students, just as it does to outsiders. but such a study can have a very definite effect upon acting. To be a good writer. artist, sculptor or actor one must have both a knowledge and understanding of beauty. And there is no place this can be found better than in an art gallery. “I do not think a person can express that which he has not felt, or at least understood. All art is expression. Thus one helps another.” HINSDELL believes in allowing those he trains to think for themselves. He shows them the right and the wrong then lets them work out the rest. He feels that he has failed as a coach if one of his graduates is not ready to go with any director. His students must learn more than just to do things his way. They must learn to act. To further their experience, he stages frequent shows at a local theater. This gives the youngsters an actual stage training that is of infinite value. They learn how to appear at ease before an audience, get a taste of real audience reaction, and gain a confidence which can be acquired in no other manner. Besides, it gives studio executives and directors an opportunity to see the potential talent which is at their disposal. Hence these student are certain to be given a chance to display the results of their training in front of the movie cameras. As for the average movie-struck girl or lad who has visions of being a star of 1940 or some later date, Hinsdell’s advice i “forget all about pictures.” “Most of these hopefuls have no talent.” he explains. “They’re just mesmerized by that state of mind called Hollywood and they’re due for disappointment if they hold on to the idea. “Of course, to those among them who do have talent and something to give, my advice would be no barrier. If that alone would stop them, they wouldn’t be worth anything anyway. “Those who are really serious about acting should become affiliated with a Little Theater group. More and more, producers of both the stage and screen are realizing that their greatest source of talent is the Little Theater. With such a training behind them, young men and women are already thinking and acting more or less like troupers when they enter professional work.”

Interesting, but sadly neither of the girls mentioned achieved any real success, although I do think that his method is very good.

In 1935, Mary eloped from Hollywood to Yuma, Arizona., with Arthur William Rush, studio executive. Arthur was born on April 2, 1907, to, in Graysville, Pennsylvania, to, one of six children. His siblings were brothers Malcolm, Clarence and Charles and his sisters were Elizabeth, and Helen. The family left Greene County when his father was transferred to Ohio by Columbia Gas. William lived for a time in Hanoverton, Ohio, before moving to California in 1931. William was a graduate of Bethany College, and quickly became West Coast manager for RCA Victor.

In the fledgling Los Angeles recording industry in the 1930s, Rush produced radio shows and recordings by Glenn Miller, Dinah Shore, Igor Stravinsky, Arthur Rubenstein and others. In 1937, Rush left RCA and became an agent for Columbia Management of California, a CBS subsidiary, where he managed the careers of Mary Martin, Vladimir Horowitz, Orson Wells and others. He formed his own talent agency in 1939, Art Rush Inc., from which he managed Nelson Eddy for 22 years, in addition to  Jackie Gleason. He also discovered and launched the career of tenor Mario Lanza.

The couple enjoyed a happy, harmonious marriage, lived in Los Angeles and had two children, two sons, William Arthur Rush, born on August 25, 1936, and Robert Nelson Rush, born on January 14, 1943.

The Rushes were especially close to his clients Roy Rogers and Dale Evans. In fact, Arthur and Mary served as best man and matron of honor  when Roy and Dale were married. Rush became Roy ’s agent after they met in a Hollywood restaurant in 1941. Their collaboration was sealed with a handshake and the two men never signed a formal contract. As a sign of devotion, Rogers’ best-selling book, Happy Trails, was dedicated to Rush and contained a glowing message of thanks for helping Rogers become a legendary Hollywood star.

In his later career, Managing  the Sons of the Pioneers, Rogers’ musical group, became the focus of Rush’s work. He was the mastermind behind the marketing of more than 400 products and establish more than 500 Roy Rogers Restaurants, in association with Marriott Corp. Rush called his 48-year collaboration with Rogers and Evans “the richest experience anybody could hope for in the entertainment world.” Roy’s son said of him “He wasn’t just an agent. We called him ‘Mother Rush’ because he took care of dad and the Pioneers.

Mary Josephine Rush died on September 30, 1988, in Los Angeles, California.

Her widower Arthur William Rush died of complications from a Thanksgiving auto accident on December 2, 1989.

Prudence Sutton

Prudence Sutton was one of many nice looking small town girls that crashed Hollywood hoping for at least a glimpse of fame. Unlike man others, she was noticed and given a starring role in a not inconsiderable feature. When the movie failed, she lasted for a few more years in Tinsel Town with no great success, and in the end traded it all for a stable family life. Let’s learn more about her.

EARLY LIFE

Prudence Lovicia Sutton was born on April 24, 1907, in Sayre, Oklahoma, to Walter and Hattie Sutton. She had an older sister, Allie, born in 1904, and tow younger brothers, William Walter, born in 1909 and Tyson, born in 1911. Her father was a minister, her mother a housewife. The family lived in Beckham, Oklahoma in the 1910s.

Prudence attended Sayre high school and had a normal upbringing in a loving, tightly knit family. However, Prudence’s carefree teen years were abruptly cut short when her father was shot and slain by a cattle rustler not long after she graduated from high school in 1925. Her mother, a very resourceful woman, took the children and moved to Southern California. There Prudence got into movies in 1927. How exactly? Well, a bathing suit contest!

Prudence entered a Bathing’ Beauties most beautiful contestant. While she did not win, she and six other girls, Margaret Andrews, Evelyn Hunt, Caroline Burt, Josephine Hoffman, Harriet Mathews and Lorena Rhodes won cash, prizes, and, ultimately, a studio contract, and of she went!

CAREER

Prudence made only two movies in her short career: Pitfalls of Passion, a silent movie from 1927, and Paramount on Parade, a sound feature from 1930. I usually don’t write much about silent movies since I am not well versed in them, but since Pru made only two, let’s concentrate a bit on them. Her first movie, Pitfalls of Passion, was supposed to be her jump of to fame, as it was her very first role and a leading role at that! Pru plays a demure and slightly bewildered country girl who runs off to the city with her lover. Then as the unfortunate victim of circumstances who is sold into moral bondage, and finally as the woman of the streets—beaten and forlorn.  The papers heralded Pru as a natural talent, noting that Miss Sutton gives a sterling performance that is startling because of its realism. It was quite an expensive movie to make – at one point, there were 800 people appearing in mob scenes. The movie is completely forgotten today, sadly.

Prudence’s second feature was Paramount on Parade, a pastiche of various stars singing and dancing. Forget about the story, about characters or anythign remotely deep – this is fun, pure and simple! As one reviewer from IMDB nicely sums it up:

When “Paramount on Parade” was filmed – Paramount had more musical stars than any other studio. The other studio revues (MGM’s “Hollywood Revue of 1929” and Warner’s “Show of Shows”) may have been more flashy but most of the stars were not singers or dancers and people went for the novelty of seeing their favourites trying to sing or dance.

There is little reason to see the movie today, unless one is a old musical buff, but there are worse movies one can watch!

That was it from Prudence!

PRIVATE LIFE

Prudence had a very stable and peaceful love life – she married young businessman Joseph Bonadiman on April 11, 1931, in Los Angeles. Joseph E. Bonadiman was born on March 21, 1903, in California, to Carlo Bonadiman and Domenica Passarini, one of four children (he had a brother, Charles and two sisters, one of them Mary). His parents were both immigrants from northern Italy (which was under Austria-Hungary at that time). Prudence gave up her career in 1931 to marry and devote herself to family life.

The Bonadimans had a solid middle class family life. Their first son was born on Joseph Carlosutton was born on August 24, 1932 in Los Angeles, and their second son, William Walter, on June 21, 1935, also in Los Angeles. Joseph became a director of the San Bernardino Valley Municipal Water District and head of the civil engineering firm of Joseph E. Bonadiman & Associates, which was founded in 1942. His obituary nicely sums up his life’s work:

Engineer Joseph E. Bonadiman, who pioneered hillside developments from Hollywood Hills to San Bernardino, died of heart Tailure Monday at Redlands Community Hospital, his relatives said Tuesday. He was 86. “He was the first engineer to do hillside developments of any size in Los Angeles County,” recalled his elder son, Joseph C. Bonadiman. Chavez Ravine now home to the Los Angeles Dodgers was among the early projects. In San Bernardino’s steep foothills, he engineered developments near David Way and later throughout the Verdemont area. Although he had become less active during the last five years, he never fully retired. His last  day at work was Friday. The son of immigrant Austrians, Bonadiman came to California as a boy. He lived briefly on a 160-acre apple ranch in Apple Valley, where he arrived by wagon through Cajon Pass. He earned his engineering degree at UCLA where he once sold a used tuxedo to classmate John Wayne. “My dad needed some money and Duke Morrison John Wayne needed a tuxedo, so they traded,” his son said. Working as an engineer in a largely undeveloped state, Bonadiman found himself helping to build bridges, dams, subdivisions and a few airfields. “He designed Ontario International . . . Hawthorne . . . and a couple I don’t remember,” said his son.

In 1960 the family moved from Los Angeles to San Bernardino where the engineering firm had already developed extensive
business connections. The Bonadimans nicely blended with the locals, and soon became a well known town staple couple, and Prudence was very active in the local catholic church and various charities.

In early 1966, Prudence had been taken ill. She had been hospitalized for more than a week and was apparently holding her own when an embolism, or blood clot, in the lung resulted in death on January 10, 1966. She was buried in San Bernardino.

Joseph Bonadiman died on January 29, 1990, in San Bernardino, California.

Kay Harding

 

Kay Harding was a pretty small town girl who dreamed big, went to California to attain fame and fortune, worked as a truck driver (interesting no?), and even managed some minor success in Hollywood before giving it all up for marriage. Let’s hear more about her.

EARLY LIFE

Jackie Lou Harding was born on January 5, 1924, in Cushing, Oklahoma to James and Thelma Harding. Her younger brother, Buddie Harding, was born two years after her in 1926. Her father, James, born in Colorado, worked in the oil industry as a laborer. Jackie grew up in Cushing in a normal, middle class family, and had an unremarkable, stable childhood.

Yet, there was a hunger for fame in Jackie, and by the time she hit puberty, she was active in local beauty pageants and had designs to become an actress. She attended Northeast high school in Oklahoma City, where she was elected “All-Around Girl” of the school, and once won a contest in a bathing beauty show. After graduation, Jackie left for California, hoping to realize her long time dream of becoming an actress.

In 1944, in Cushing, via a telegram, word had been received that Miss Jackie Lou Harding had signed a contract with Universal Studios in Hollywood, and her career started!

CAREER

Kay first appeared in Tinsel town films in Weird Woman, a well-paced, tightly knit horror movie with a great trio of lead actors – Lon Chaney Jr., Anne Gwynne and Evelyn Ankers. The plot is pretty basic (Chaney, as a professor at a college returns from a visit to a South Seas island with his native wife, played by Anne. His vindictive ex girlfriend, played by Evelyn, tries to her revenge. Chaney makes his wife burn all her superstitious, good luck charms, the things go horribly wrong), but the script is crisp, the performances fitting and the spooky atmosphere on point. Kay moved to more cheery fare with Hi, Good Lookin’!, a sugar coated, cute, and music-filled movie with nothing really memorable about it, but it’s good enough to watch on a Sunday afternoon. This was followed by Follow the Boys was another all star extravaganza they used to make during WW2 purely for patriotic reasons and not really for the art – Kay was just one of many stars and starlets who appeared in it.

Kay’s last four movies were all horrors/thrillers, and are the reason she is remembered (if at all), today. The first is The Scarlet Claw, one of the Basil Rathbone/Sherlock Holmes movies. What more do we need to say about this serial? All Sherlock fans will love it, and even people beyond the circle – they are after all very well made movies with a outstanding cast. Kay’s last movie was also another from the same Sherlock Holmes series, The Woman in Green.

Kay also made one horror comedy – Ghost Catchers, featuring the team of Ole Olsen and Chic Johnson. The story is a cardboard cutout – a spooky mansion which is, surprise!!, located next door to a night club is the place, and the characters are a Southern colonel and his two daughters. The movie, albeit short (a bit more than 60 mins) features a great deal of music, which can be either a detriment or a joy, depending on your own preferences. it’s not really a scary movie, of course, it has a few funny gags and Johnson/Olsen are their usual selves. Kay plays a minor role, so she’s blink and you’ll miss her.

Kay’s most famous and enduring movie today is The Mummy’s Curse, the fifth and final installment of Universal’s mummy series and the third to star Lon Chaney as the ancient Egyptian priest Kharis pursuing his much desired princess Ananka. The plot is same old, same old, closely following the last installment (An irrigation project in the rural bayous of Louisiana unearths Kharis, who was buried in quicksand twenty-five years earlier.) but fans of old school horror will love this – it’s Lon Chaney, after all, and everybody who cares about horror loves to see a mummy chasing after frightened people. Kay has a lively role as a doctor’s assistant, a good girl opposed to Virginia Christine’s bad girl (Ananka).

That was it from Kay!

PRIVATE LIFE

Allegedly, before Kay became an actress, she was a helms-woman on a delivery wagon. While I cannot gauge how true this story is, it makes for interesting reading if nothing else:

This business of writing pieces about Hollywood has gone completely haywire. Today, to keep up with things, we had to interview a lady truck driver. Or rather an ex-lady truck driver now in the movies. But gash, we couldn’t quarrel with Universal studio for signing up a lady truck driver. She was beeeutiful. Streamlined chassis. Fancy grill work. Nice paint Job. Sturdy upholstering. No miss in her remote. A real traffic stopper. Her name is Kay Harding. Her parents came to California about two years ago and Kay immediately tried to get into pictures. No luck, so she got a Job driving a truck for the U. S. Rubber Company in Los Angeles. One day she had to deliver some synthetic rubber to Universal studio for Claude Rains mask in “Phantom of the Opera.” Kay, wearing a trim uniform, drove her truck on the lot and there was a good deal of whistling. Dignified studio executive Dan Kelley also saw her. “He called me over,” Kay said, “and asked a lot of questions. I told him I had acted in high school plays, with the Community Players in Whittier, Calif., and that I was dying to get into pictures. He said to telephone him in a few days, maybe he could arrange a screen test.” “I was so excited,” she said, “I drove through a traffic signal and got a ticket.” Kay took the screen test. Studio executives looked at the film and gave her a contract. She made her film debut as a secretary in “Phantom Lady,” then played the ingenue lead with Basil Rathbone and Nigel Bruce in “The Scarlet Claw.” It’s probably a good thing there is one less lady truck driver on Southern California’s highways. Pin-up girls behind the wheel of a truck, Kay Harding said, are bad on morale. Not to mention fenders-and life and limb. “Gosh,” she said, “they let me drive that truck only three days after I got my driver’s license. I didn’t know the streets, or anything about a truck. I backed into a parked car the first day and smashed up a couple of fenders.” Then there was the convoy problem. “I’d be driving down the street,” Kay said, “and pretty soon there would be a lot of cars bunched around me. The guys in them would wave and whistle. If I slowed down, they’d all slow down. If I drove faster, they’d tag right along. It’s a miracle we all didn’t crack up in one colossal accident.” Then there was that California state law which prohibits a woman employee, even a lady truck driver, from lifting anything weighing more than 25 pounds. “I’d drive into a place,” Kay said, “with some heavy packages. I’d ask someone to carry them in. Well, the word would get around that there was a lady truck driver needing help, and 50 gents would leave their work to come outside and help me.” Kay said she earned $25 a week during the two months she drove the truck. “But every time I dented a fender, or got a traffic ticket, they took it out of my salary.” Kay said she didn’t keep score, but there were quite a few dented fenders. But only two traffic tickets one on the day she was promised that screen test. “Gosh,” Kay sighed, “it’s wonderful. When I quit my job the boss said I could come back and drive the truck any time if things in Hollywood didn’t pan out.”

Kay’s private life was pretty stable and low-key. Like many starlets, she did her bit for the war relief, and so met her future husband, who was serving in the Navy then. Kay and L. N. “Loyd Pat” Patterson, A.M.M. 2nd Class, were married in 1944 in a double ring ceremony at the Wee Kirk o’ the Heather, Glendale. The ceremony was performed by Rev. M. Owan Kellison with Patricia Martin, Kay’s only attendant, as maiden of honor, and Tom Stone, A.M.M. 3rd Class, the groom’s fellow sailor, as best man.

Unlike some wartime marriages, the Pattersons’ marriage was a happy and harmonious one, and produced a daughter, Michael Lyn, born on February 23, 1946, in Los Angeles. The couple moved from LA to Soledad at some point after Michael was born. Kay had given up on the acting world by then and was content with her domestic life.

Kay and Loyd lived in Soledad for many years before moving to Tracy. When she got sick, she was moved to a facility in Palo Alto, California.

Jackie Lou Patterson died on in Palo Alto, California.

Mildred Rehn

Mildred Rehn was a cute chorus girl who danced in Busby Berkeley musicals before getting married, taking a hiatus, then trying, briefly, for a second career some ten years later. She fared only a bit better, did some writing and ultimately retired form the screen.

EARLY LIFE

Mildred Anna Elsie Rehn was born on July 24, 1913, in Vancouver, Canada to Mr,. and Mrs. Rehn, nee Auerbach, both Austrian immigrants. Little is known about her childhood, except that she immigrated to Washington with her parents in the 1920s. Ultimately the family settled in Michigan, where Mildred attended school. After graduation, she started dancing professionally as a chorus girl. 

At only 20, Mildred dancing her way around the world and had already visited London, Paris, Berlin, Vienna, Budapest and Italy and different cities the US. After dancing engagements, she was studying dramatics and art and developed a desire to become a tragedienne. “I’m still studying and hoping for a chance to prove my ability,” she would later say to the papers.

She wanted to see the Hollywood and managed to secure a job as one of Busby Berkeley’s dancing girls In “Gold Diggers of 1938” at Warner Brothers so she could stay awhile and this is how her career started!

CAREER

Mildred Rehn, under her birth name, made only one movie – Broadway Melody of 1938, a typical Busby Berkeley musical extravaganza, with a whole lot of pretty girls, a major lack of decent clothing, with a transparent story and even some horse racing elements. Allegedly Mildred appeared in a string of Berkeley production, but she is not listed as such on the IMDB, so anything goes.

Mildred had a second career as Helga Storme – her credits were the Gus and Dick comedy duo short, Hot Water, and the Ingrid Bergman/Charles Boyer Arch of Triumph, a movie Illegal refugees lead dark lives in pre-World War II Paris. It’s a dark, moody, heavy movie, with brilliant chiaroscuro cinematography and incredible closeups of the always luminous Bergman, but certainly not for everyone and it’s not an easy movie to follow. There is a deliberate lack of a clear narrative outline, and everything just flows, literary like darkness, around the screen. Interesting movie, and a one worth seeing for sure!

David Ragan’s book Who’s who in Hollywood claims that Mildred, as Helga Storme, wrote at least one film – the french movie Francesca. I could not find any more credits nor could I find the movie in question, but it is possible that Millie took the writing mantle and achieved a minor success in it.

And that’s it from Mildred!

PRIVATE LIFE

Due to her parents being Austrian, Mildred was often called a Viennese actress, although I could not quite confirm that they were indeed from Vienna and not some other Austrian city. It seems that she never lived in the city and only visited in a few times, so calling her a Viennese actress is a bit of a stretch – she is a Canadian actress first and foremost.

While in Hollywood, the camera was good to Mildred and she was called to the front office and offered a contract to be groomed for better things. She flatly turned down the chance which would have been snapped up by thousands of girls. She asserted her travels have only started and that as soon as she pays a visit home she will head for Cairo. Then she’s going to write a book on her experiences. Unfortunately, the book was never published, but let’s hope that Mildred traveled around and saw many, many nice things!

Millie’s one big claim to fame was not the movie, but rather being a top chorus girl. Namely, she was announced by Dave Gould, film dance director, as meeting his standard for the ideal chorus girl of 1937. She was a blonde and 5 feet 6 inches tall. Gould said to the papers that the trend toward period costumes for chorus girls instead of nudeness requires taller girls with more poise and elegance. She was in almost any paper in country you can imagine, and gained a small momentum of fame.

Within two weeks after Mildred was picked as the “perfect chorus girl”, she received more than fifteen marriage proposals! I always have to chuckle at this – how much of a crush do you have to have on somebody to ask him to marry you based solely on a photo? Funny!

Here is a another article about Mildred from that period:

Mildred Rehn is a wise woman who as a model, cosmetician, showgirl, dancer and actress has been pretty much all over the world, has had a lot of rich experiences and wants some day to write about them. “Life is not so hard,” she says. “Of course I am tired when I leave the studio, but I am too tired and nervous to sleep. So it is just as well that I go to dinner with some Hollywood man who will sit and talk about what a great man he is and how he is going to make a million dollars. This talk bores me so much that I get very sleepy, so I go home then and sleep fine.’

As for her love life, Mildred was quite low key and lucky in this regard. She started dating Stanley Cortez, film studio cameraman and brother of actor Ricardo Cortez. After some months of dating, they were married secretly in Tijuana, Mexico.

For their second marriage ceremony, the happy couple went to Las Vegas for two days, 18 months after getting married in Tijuana. Here is Cortez’s IMDB profile, which more or less says a great deal about his life and career:

Stanley Cortez was born Samuel Krantz in New York City, New York, the son of Sarah (Lefkowitz) and Moses/Morris Krantz, Austrian Jewish immigrants. His famous actor brother, born Jacob Krantz, changed his name to Ricardo Cortez in order to acquire a more suitably romantic Hollywood image. Stanley changed his name accordingly. After studies at New York University he embarked on a photographic career, first as assistant to noted portrait photographers Streichan and Bachrach (he designed many of their lavish background sets), then as camera assistant for Pathé Revue and for various Manhattan-based film companies. Grabbing the chance to join Gloria SwansonProductions, Stanley then spent a lengthy apprenticeship in the 1920s and early 1930s learning the intricacies of his craft from such established Hollywood cinematographers as Lee Garmes and Hal Mohr. After moving from studio to studio, either as a camera assistant or shooting screen tests, he was signed to a seven-year contract by Universal in 1936, albeit consigned to its “B” unit. His first film as full director of photography was Four Days Wonder (1936). During World War II, he was assigned to the Army Pictorial Service of the Signals Corps.

Much of his subsequent career was spent on fairly routine and undistinguished second features and it was not until he started working for charismatic filmmakers like Orson Welles and David O. Selznick that he was able to fully develop some of his experimental techniques. One of his low-budget outings, a gothic old-dark-house horror/comedy entitled The Black Cat (1941), rather impressed the genial Mr. Welles who promptly hired him for The Magnificent Ambersons (1942). This was the first of two Cortez films generally regarded as visual masterpieces, with beautiful lighting effects, clever angles and lingering close-ups. Of particular note are the staircase scene and the famous long shot — via hand-held camera — of the abandoned mansion. Despite critical plaudits, “Ambersons” was a financial disaster for RKO (it cost $1,1 million and lost $624,000 at the box office) and Cortez was partly blamed for costly delays and extravagant scenes, some 40-50 minutes of which were cut by direct orders from studio boss George Schaefer without consulting either Welles or Cortez. The latter ended up being indirectly censured by receiving lesser assignments. What remained of “Ambersons” has become more appreciated as a sublime visual experience with the passing of time.

The second outstanding Cortez contribution was the chillingly dark, haunting thriller The Night of the Hunter (1955)–a brilliant allegory of good versus evil masterminded by Charles Laughton in his sole directorial effort. Cortez’s lighting and use of irises are reminiscent of German expressionist cinema, or, at least, the work of Karl Struss and Charles Rosher on Sunrise (1927). Among many indelible images are the flowing hair of drowned Shelley Winters in the underwater current and the lights flickering across the water in what is an almost surreal nightly landscape.

A third Cortez effort deserving of mention is the superior psychological drama The Three Faces of Eve (1957), his differential lighting for the face of schizophrenic Eve White (Joanne Woodward) effectively contrasting the multiple personalities within her psyche. Sadly, by the end of the decade Cortez’s career went into a decline. It continued that way through the 1960s, the quality of his assignments fluctuating wildly between the occasional “A” picture (The Bridge at Remagen (1969)) and Z-grade turkeys like The Ghost in the Invisible Bikini (1966) and The Navy vs. the Night Monsters (1966).

Mildred gave up her career for a time so she was follow her husband on location and be the support he needed. Here are some snippets about the Cortez’s marriage and life:

Stanley Cortez, a director of photography in Hollywood, said in an interview here Tuesday night that the Canadian climate may have something to do with the success of Canadian screen stars. After sniffing the cold, clear air on leaving his train Mr. Cortez said the atmosphere In Canada ac counted for the fact that such stars as Norma Shearer, Deanna Durbin and Mary Pickford “seem to have so much more pep” than others in Hollywood. The director Is accompanied by, his wife, the former Mildred Rehn of Vancouver.

And the second one, very interesting, about the relationship between cinematographer and actress:

Maybe one reason TV hasn’t spawned any great female stars is because there is no great rapport between a woman and her cameraman. Stanley Cortez, a governor of the prestigious American Society of Cinematographers, says that, in movies, there always was a relationship between the great women stars and their cameramen. Such a relationship does not exist in TV. “That’s probably because TV companies are always trying to complete their shows as quickly as possible,” Cortez says. And, of course, in movies with the big screen, you have to pay close attention to close-ups and to the glamour of the leading lady.” Cortez says that the rapport between movie queens and their cameramen was so close that several pairs even got married. He cites these examples: Jean Harlow married Hal Rosson; Joan Blondell married George Barnes; both Linda Darnell and Lina Basquette married Peverell Marley at one time or another; Merle Oberon married Lucien Ballard; and Cortez himself a Viennese actress, Helga Storme. “The relationship between cinematographer and leading lady,” Cortez says, “is much like that of doctor and patient. She has to rely on him far so many things her whole career may be in the hands of the cameraman. “And a responsible cameraman feels that responsibility very strongly he must make he look best so she comes across on the screen.”

Stanley and Mildred had no children, but enjoyed a happy and fulfilling marriage, a kind of rarity in Tinsel Town. They lived in Hollywood, where Stanley worked until his retirement in the 1980s.

Mildred Cortez died on May 18, 1989, in Hollywood, California.

Stanley Cortez didn’t remarry and died on December 23, 1997.

Totty Ames

Totty Ames is a incredible, inspiring woman. She lasted more than 20 years as a model, acted sporadically and without much success, but her claim to fame was the choice to become a songstress when she was in her 60s, and succeeding brilliantly! She reinvented herself several times, and always marched on. Let’s learn more about Totty!

EARLY LIFE

Winifred Estelle Totty was born on November 3, 1922, in Oklahoma City, Oklahoma, to Flavel Arthur Totty and Annie Belle Carothers, both native Oklahomans. Her father was a fireman, her mother worked as an elevator operator. In 1930, the family were boarders in a Oklahoma City flat with another family, the the Tillerys.

Estelle’s parents divorced in the 1930s, and her mother remarried to Alec Cope, who worked for a power company. Alec, Annie and Estelle lived in Oklahoma City in 1940, and Estelle worked as a cinema cashier to make some pocket change.

Estelle knew that she was destined for a showbiz career and so, after graduating high school she continued working as a cashier for a time, then in 1943 she hopped onto a bus bound for Hollywood. To get some financial footing, she started to work as a cashier at the Egyptian Theater on Hollywood boulevard. In her later years she started that she loved watching the world go by there, on the Boulevard.

Estelle tried to modeling and acting assignments, and pretty soon leading photographers hired her to model clothing, swim wear and lingerie, and pretty soon she signed with the Gene Nelson modeling studios in Hollywood. She became a sought after pin-up and was named, among other titles, Miss Night Fighter of 1943.

This is how she broke into movies quite late, in 1963.

CAREER

Totty was a late bloomer as far as movie roles were concerned – her first role was in 1963, in Wall of Noise, a mediocre drama movie with a solid if uninspired story: Joel Tarrant (Troy Donahue) an ambitious horse trainer working at the Hollywood Race Track. He works for the coarse Matt Rubio (Ralph Meeker) and his wife Laura (Suzanne Pleshette) expresses a special interest in the social life of Joel. Donahue was a pretty boy who never showed any real acting chops, but was adequate in most role she played – on the other hand, both Ralph Meeker and Suzanne Pleshette were very good thespians and many a movie is worth watching just to see them (Meeker especially, I definitely have a soft spot for him!). Another plus is seeing Ty Hardin and Dorothy Provine in supporting roles, and enjoying the very good cinematography by ace cinematographer Lucien Ballard. it’s not an innovative, top of the crop movie, but an okay effort form the early 1960s.

Totty’s minor claim to fame today are her appearances in two Flint movies – Our Man Flint and In Like Flint. Flint is a more energetic and less suave version of James Bond, and as a character tailor made for star James Coburn’s talents. I love Coburn, and, while he was not a handsome man nor a particularly good actor, he was extra charismatic and absolutely unique as far as actor go, so any movie he made is worth watching to see him alone (much like Meeker).

Both Flint movies are in their core spy parody films and they are good as such. The plots are ridiculous, but who’s watching it for the story – there’s Coburn, mod 60s set and clothes design, groovy music, that overall Steve-McQueen-cool atmosphere and a heap or very pretty (and scantly clad) girls.

Totty’ last movie was Skullduggery. Barnaby Rudge, a reviewer on IMDB, perfectly summed up the movie like this: Skullduggery is a strange, strange film based on the novel “Ye Shall Know Them” by Vercors. To unleash criticism at the film feels really unkind, since it is a movie that deals with earnest themes like humanity, and pleas for upright moral standards and tolerance. But in spite of its honorable intentions and its well-meaning tone, Skullduggery simply isn’t a very good film. For me, the main problem is the terribly disjointed narrative which can’t make its mind up how best to convey its message. The first half of the movie is like watching a standard jungle expedition flick of the Tarzan ilk; later it teeters into sci-fi fable; by the end it slips into courtroom melodramatics. The differences in tone between each section of the movie are too great, too jarring, to overlook. They stick out like a sore thumb and remind you constantly that you’re watching a muddled, disorganized movie.

A nice try, but not a successful one unfortunately.

That was it from Totty!

PRIVATE LIFE

Before she ended up in Hollywood, Estelle had a short marriage to a fellow Oklahoman, Harold F. Douglas. The two wed on June 29, 1940, in Canadian, Oklahoma, – she was only 17 and he was barely 21 years old. Douglas was born in 1919 in Oklahoma.

While some of these youthful marriages do work, this one did not and they divorced in about 1942. Douglas remarried to Mary Elizabeth Hinze, went to serve us the Us army in Korea and sadly died there in 1951.

Judging by some later articles, there seems to have been more marriages on Totty’s plate, but I could find only one – to Leonard Herman Barnet. They wed on November 21, 1951, in Los Angeles, California. Leonard was born in 1928 to Harry Barnet and Sarah Turppin, and worked as a suede cutter when he wed Totty. However, the marriage was anything but harmonious, as this article can attest:

Winifred Barnet, 31- year old fashion model, received a decree of divorce yesterday after testifying that six weeks after their marriage her husband degraded her from his beloved to his house’ keeper. Superior Judge Kenneth C. Newell granted her the decree from Leonard Barnet, 26, a suede cutter, to whom she was married here Nov. 21, 1952. “For the first six weeks I was very happy, with him,” said Mrs. Barnet, known professionally as Totty Ames. “Then one day he brought another woman to our home and the two of them announced they were in love.” “Did he say he was leaving you?” asked her attorney, Bentley M. Harris. “Oh, no,” she replied. “He wanted me to continue keeping love affair on the side.” Mrs. Barnet said she nevertheless tried to keep her marriage together but that she and the other woman

Totty worked tirelessly as a model and actress for decades to come, but her true renaissance happened when she was in her 60s.  Namely, at age 65, Totty made her professional singing career performing in leading Los Angeles cabarets. Her career included Executive Assistant to Neil Diamond and co-owner of a designer showroom.  Here is an article from her time as a songstress:

Many wannabe singers can work the microphone, the way the pros did it. But for a lot of reasons the dream got lost in the hustle of trying to make it. Make it she did, as an actress and a model, wending her way through marriages that didn’t work and stepchild-raising she could have done without. She likes to say she got into film the old-fashioned way, by sleeping with the producer, then adds wryly, “I was married to him.” On stage, she’s equally peppery, advising an audience she’s going to sing a mix of old tunes because “I’m 70 years old and I can damned well sing what I want.” After one career ended, someone said to Totty she ought to be doing what she’s always wanted to do, singing on stage, and she said why not? “If not now, I asked myself, when?” She began studying at age 64 and a year and a half later hit the stage at Gardenia. “Isn’t it wonderful,” she says now, “being 70 and doing exactly what I want to be doing?” I was thinking as she walked us through the sleepy gardens of “Deep Purple” how great it would be if we could all find that way around time and reach down to where energy once burned like magnesium and become a Totty Ames. I left the club still hearing music and drove home wrapped in the mist of a memory, thinking about time and a distant rain. “She’s 70?” Cinelll said, stunned by the willowy presence that held the spotlight like she was born in it. “We should all look so good.” Totty could have been In her early 40s, but looks weren’t the only thing. It was the way she sang with strength and youth that Impressed, as though she’d discovered a way around time and had returned from a secret place to baffle the aging. I know 70-ycar-olds who can’t make it across a driveway without a walker and whose voices quaver with the Infirmities of age; those who allow themselves to fall through time to eternity without so much as a struggle, like leaves carried away by an autumn wind. And thon there’s Totty behind a mike looking good and doing “ieep Purple” over a room with candle-lit tables until there isn’t another sound, only the hush of people remembering. What makes it remarkable Is this Is a whole new career for her, one that began In this same club just four years ago. She came to U A. from Oklahoma when she was 21 for the same reason most kids come here, to be a part of the magic. She had $10 and a dream. Totty loved music from the beginning, a little girl grabbing a broom and pretending it was a There’s gotta be 10,000 clubs In LA. that offer entertainment. Sometimes it’s just a guy at a piano looking distracted as he churns out tunes faintly similar to Muzak, other times It’s a vocalist or someone on an alto sax or a small band or magicians or comics or something. Maybe 10,000’s an exaggeration but it seems that way. I get calls from corners of the county where you’d never expect a club to be, saying come and hear the next Blllie Holiday or Billy Crystal or see a nude dancer named Tiffany who’ll knock your aocks off. I don’t go most of the time because I’m not a nightclub writer and haven’t got time to be everywhere, and nudity on stage has yet to knock my socks off. But a credible friend who used to write a column for the Houston Post said I Just had to hear Totty Ames. His name Is David Wcsthelmcr. You know him as the guy who wrote “Von Ryan’s Express” and “Sweet Charlie” and a lot of other good things. He hangs out at a restaurant in Venice called Casablanca along with Dan Seymour, one of the last remaining actors from the movie. Recently, every time I’ve seen David he’s mentioned Totty Ames. The guy’s persistent. We’d be talking about his new book, a memoir of his years in a PCW camp culled “Silting it Out,” unci he’d slip Totty’s name into the conversation. “Wht’s with this Totty?” I finally asked him one night. He said, “She’s a 70 year-old singer who didn’t start singing until she was OB and she’ll knock your socks off.” So the other evening I took Cinelll to a club on the Westside with the unlikely name of Gardenia. It was the day of the big rain In I ..A. and street lights reflected In the wet pavement, casting the night In an amber glow, recalling rainy nights long ago. Magic Is afoot on those kinds of nights when u storm has swept through and stars cmorgc like diamonds on black velvet. Music can carry you back to times and places you haven’t been in a lifetime of forgetting. Totty is like no septuagenarian you’ve ever seen. Up there In a gold lame’ pantsuit, she shines with an aura that defies age.”

Totty never really retired, always active and vital until the last moment.

Totty Ames died on July 10, 2015 in Glendale, California.