Suzanne Ames

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

EARLY LIFE

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

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

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

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

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

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

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

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

CAREER

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

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

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

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

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

That was it for Suzanne’s movie career.

PRIVATE LIFE

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Irene Bennett


Most of the actresses I profile on this side had a dismal career but led normal, happy lives – they had other careers, got married, had children and so on. One has to wonder if such a “happy ending” is applicable to actresses like Irene Bennett, or can we call them tragic? Let’s learn more about Irene…

EARLY LIFE

Irene Opal Horsley was born on December 17, 1913, in Marshall, Logan, Oklahoma, to Calvin Horsley and Margaret Frances Bennett. Irene came from a very big, tight knit family. She was their fourth child – her older sisters were Velva Verona, born on September 4, 1905, Velora Mildred, born on April 22, 1908 and Doris Pauline, born on June 18, 1910. Five more children would follow after Irene – twins, a son, Ray, and a daughter, Elaine Margaret, born on October 25, 1915, Elizabeth “Bette”, born on January 11, 1918, Virginia “Bobbie” Kate born in 1919, and the baby of the family, Quinton Roosevelt, born on June/January 6, 1920. Later in life, Irene would claim that her mother was the first white child born in the Cherokee strip of Oklahoma.

The family moved from Marshall to Enid, Oklahoma, in about 1917. Irene and her siblings grew up , attended and graduated from high school there.

Irene came to Hollywood twice. The first time was in 1935, as a beauty-contest winner in the Tri-State cotton festival at Memphis, Tenn. Approached a local merchant who was so struck by her beauty that he invited her to ride his float in the Cotton Carnival parade. She accepted, unaware that the parade was also a beauty contest. She won the contest and then followed the inevitable trip to Hollywood with a try at the movies. The customary rounds; the usual publicity; the unavoidable result nobody paid much heed to Irene. “But nothing happened,” she said of the experience later “so I went back to selling magazines.”

The second time was much more fruitful. As a professional saleslady, she came to a movie studio to sell magazines. She said she was known from coast to coast as “The Magazine Girl,” having conducted her subscription campaigns in thirty -three states. She listed among her clients Gov. Albert Ritchie of Maryland, and Gov. Frank Merriam of California. “I always go right to the front office,” Irene explained. But Irene couldn’t get to the front office at Paramount studio. A cordon of alert secretaries stopped her. So the only executive she was able to contact was John Votion, head of the studio talent department. He told her he did not want any magazines. But he did offer her a contract and she accepted. She become a member of the studio “stock” company to gain experience and changed her name to Irene Bennett.

And Irene was off!

CAREER

Irene’s first movie was Too Many Parents, a not-bad-at-all drama about the boys who are sent to military school in order to get them out of the way of their too-busy-to-bother parents or guardians. Special plus is seeing Frances Farmer in an early role. Her next movie was the completely forgotten Sky Parade, an aviation move with Katherine DeMille and William Gargan. Then Irene appeared in Florida Special, a run of the mill crime movie with Jackie Oakie as a worldly journalist trying to stop a train robbery. Yawn! Been there, seen that at least a hundred times…

She next appeared in Poppy, a W.C. Fields movie and only Fields makes it worth watching (at all). While I understand that he’s the main character, a movie can’t be that good if it’s absolutely boring when the lead is not on-camera. Beats me why they always paired Fields with 3 Bs (blond, bland and boring) supporting actors with according story-lines. After this comedy came another comedy, My American Wife,  another almost lost movie. After that we have Lady Be Careful , which goes into the same bracket of lost movies.

Irene had another uncredited role in Easy to Take, another completely forgotten movie with Marsha Hunt and John Howard. Irene’s next movie is perhaps the bets known on her filmography – The Plainsman , one of the few A budget westerns from the 1930s. Before one wonders why somebody decided to make such a western – the answer is simple – Cecil B. DeMille wanted a epic movie and got one set in the Wild West. Like most DeMille’s movies, it’s meticulously and elegantly done, very much stamped by the old master’s unique and easily recognizable style. Yes, the story is historically inaccurate and over-the-top, but the acting is great (Gary Cooper and Jean Arthur are always a good combo), and the stunts are amazing! One should watch it more for its grandiose and epic feeling, western style, than for any true substance.

The Accusing Finger is perhaps the perfect low budget classic movie from the 1930s – it’s socially conscious, with a solid story, dramatic but not overly theatrical moments and a good cast. The story concerns a attorney who sent quite a lot of people on the death row just to end up there himself. And a true transformation occurs. I see this movie as proof of how little it takes to make a very good movie if you have all the technical and logistical things in order – a heartfelt story and a message you want to convey. For a low budget quickie, this is a true winner! Kudos to Paul Kelly and Marsha Hunt in the leading roles.

Then came another completely forgotten movie, Hideaway Girl. Irene’s last movie, Champagne Waltz , was a mid tier musical with the boring old music vs. new music plot. The plus side is hearing Gladys Swarthout sing opera and see Fred MacMurray playing a band leader, something he was before he became an actor (I never knew that!!!).

Unfortunately, Irene’s career ended after this.

PRIVATE LIFE

Irene married Carlton L. Burnham on July 9, 1929, when she was just 15 years old. Carlton was born in 1912 in Mississippi. They divorced in February 28, 1935.

While she was in Hollywood, she enjoyed the well known pastime of rowing but only on a rowing machine. She also frequented the gym of her home studio.

In March 1936, not long after she came to Hollywood, there was this notice in the papers:

Irene Bennett, Actress, Sues Doctor f or $500,000 Hollywood, Cal., March 31. (Special.- Irene Bennett, movie actress, today filed a suit against Dr. H. J. Strathcarn, studio physician at Paramount studio, for $500,000 damages. She alleged improper medical treatment. She asserts that when she came in need of medical treatment the studio referred her to Dr. Strathcarn, that he failed to diagnose her ailment until it was loo late. She said she contracted tuberculosis. Her real name Is Irene Bennett Horsley of Enid, Okla.. who came lo Hollywood after winning a Memphis, Tenn,, beauty contest.

The article was son forgotten in a small flurry of other articles about Irene:

  • March 1936: Irene Bennett dancing with Viscount Roger Halgouet. son of the wealthy French diplomat at Cocoanut Grove
  • April 1936: Joan Bennett and Gene Markey, Irene Bennett and the Charles Buttorworths week -ending at Palm Springs.
  • May 1936: Styled in Hollywood Irene Bennett, Paramount starlet, appearing with George Raft , and Dolores Cotello Barrymore in “Yours for the Asking.” sent her younger sister a dress for the latter’s graduation from the Enid (Okla.) High School.
  • August 1936:  Irene Bennett is going places with Tom Monroe, Paramount scribbler
  • September 1936: Jackson, Mississippi –  Among them were Miss Irene Bennett, formerly of this city. Mr. Champion” reports that Miss Bennett is well on her way to stardom, having played several leading roles in recent pictures. Miss Bennett has many friends in Jackson who will be pleased to know of her splendid success in pictures.
  • Luckiest player of the week in Irene Bennett, who had her option taken up the other day by Paramount and who climaxed the day by this shivery experience. She left her chair on the “Chinese Gold” set to go to the photograph gallery for a few minutes. While she was gone, a heavy sun-arc toppled over, crashing down on tho chair where Irene would have been sitting but for her lucky break. w1 noon off.”

For six months, she was trained in the Paramount dramatic school, meanwhile playing brief “bits” in a number of pictures, “The Milky Way,” “Poppy,” “Yours for the Asking,” and last of all, “Easy to Take.” At the end of the period, her contract was not renewed. During that time, she supported her mother, Mrs. Calvin Horsley, and her sister, Elaine.

Why? In November 1936:was reported to be in a Hollywood sanitarium dangerously ill of tuberculosis. A purse of $1000 was collected for her when it was learned she was without funds. Here is a brief article about it:

Irene Bennett, the pretty Oklahoma girl who was Hollywood’s biggest success story six months ago, is in a sanitarium today, dangerously ill. Her physician, Dr. H. A. Putnam, says she is facing a long .and uncertain fight for her life. What was worse, her dreams of a movie career ended abruptly several weeks before she became ill. Friends said they understood she is without funds. Having been in the movie studios less than a year, she is ineligible for aid from organized Hollywood charities. A purse of 1OOO$ has been collected at Paramount Studios, where she was under contract, to pay her expenses for a time at the sanitarium. Irene Bennett’s true name is Irene Horsley.

Irene went on to live in. Unfortunately, she slowly wasted away, living in a care assisted facility, with was no cure for her malady.

Irene Bennett Horsley died on August 25, 1941, in Los Angeles, California, from tuberculosis. She was buried in the family plot in Oklahoma.

Ann Evers

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

EARLY LIFE

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

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

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

CAREER

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

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

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

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

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

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

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

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

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

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

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

PRIVATE LIFE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Gail Goodson

Gail Goodson was a society girl (a dentists’ daughter) who tried movies for fun and dropped her career not long after she got married. Heard that story a hundred times before, and just serves to prove that without real dedication and love for the art, it’s hard to keep your head above the water in Hollywood (and sometimes even that is harldy enough!). And now let’s see some more of Gail (sorry, I could only find two small photos of her 😦 ) …

EARLY LIFE

Gail Elizabeth Goodson was born on August 10, 1916, in Denver, Colorado, to Galen Roscoe Goodson and Ethel Ulmer, their only child.  Her father was born in Hopkins, Missouri, and was a graduate of the University of Denver, working as a dentist. For the first ten years of Gail’s life they lived in Denver where she attended elementary school and was active in winter sports.

The family moved to Los Angeles in 1927, and Galen quickly found his niche in the local dentist trade – he became a favorite among movie people. Gail grew up in affluence in Beverly Hills (she was part of the Los Angeles genteel society and often attended soirees and tea parties), and attended Los Angeles High School.

So, how did Gail, who had no show biz aspirations, end up an actress? Well, her father was Eddie Cantor’s dentist and her smile won her the Eddie’s notice when he visited the office one time. He had seen her the year before, and she seemed just a little girl, wearing some of her dad’s teeth straightening gold bands. He then left Hollywood and some time, and when the comedian returned, he saw Gail on the day she graduated from high school in 1934, and was so Impressed by her radiance and grown up appearance that he got her a screen test with his producer, Sam Goldwyn. She passed with flying colors and became an instant Goldwyn girl!

CAREER

Gail made her movie debut in the legendary Kid Millions, where so many starlets acted as Goldwyn girls. The plot goes like this: Eddie plays a New York barge boy, who inherits an Egyptian treasure from his archaeologist father. Once in Egypt he is surrounded by a bevy of con artists both male and female, who try to get their hands on his money. And the story is perfect backdrop for Eddie’s unique brand of talent, and for some major musical stars to show off their prowess (watch out for Ethel Merman, Ann Sothern, Nicholas Brothers, Doris Davenport and so on). Pure enjoyment without much brain work, it’s a great Depression era musical.

Gail’s second movie was Folies Bergère de Paris, a delightful Maurice Chavalier comedy. It has an outstanding cast – Maurice, Merle Oberon, Ann Sothern, a funny and simple story (you heard it a hundred times before – An entertainer impersonates a look-alike banker, causing comic confusion for wife and girlfriend.), and good dancing and music. What more do you need? Next Gail appeared in an Our gang short, The Pinch Singer. It a minor and forgotten effort, more or less.

As she was Cantor’s progetee, she appeared in the last movie Eddie and Sam Goldwyn made together – Strike Me Pink. It’s an uneven effort, to say at least – much of the movie is ponderous and repetitive, and then the last 20 minutes turn into a top class farce, the best of what Cantor had to offer. The plot is pretty simple: meek Eddie Pink (played by Cantor of course) becomes manager of an amusement park beset by mobsters. Throw in some stalwart performers like and Ethel Merman as his leading lady, and you have a good cast if nothing else, and some great dance numbers with the Goldwyn girls (of which Gail was a member). And then Gail left the screen to marry.

Unlike many actresses that try to give up, Gail had her biggest claim to fame /(which isn’t saying much), in 1948, when she appeared in Joan of Arc – as Ingrid Berman’s armor double who did all the stunts! Incredible! I never tought that Gail had it in her to become a stuntman. Anyway, this is the movie people will remember from Gail’s filmography, and while it’s far from being the best movie made about Joan of Arc (you should watch the stunning silent movie, The Passion of Joan of Arc), it’s actually a solid historical epic. It was directed by Victor Fleming, who also helmed Gone with the wind, and of course it’s a lesser movie (but it’s not fair to compare any movie with GWTW), but Ingrid Bergman is simply outstanding and gives one of her best performances – and she had so many of them! Also the supporting cast is pretty impressive too (J. Carroll Naish, Ward Bond, Gene Lockhart…).

That was it from Gail!

PRIVATE LIFE

Gail gave a beauty hint to devoted readers in 1934:

Laughter is one of the brightest things in life. It may make wrinkles in time, bu they’re pleasant wrinkles and won’t detract from the charm of the wearer.

How true! Unknown to the papers, when she landed in Hollywood, Gail was already deeply involved with a man she would marry. Here is a short article about her upcoming nuptials in 1934, not long after she became a Goldwyn girl:

GLASSFORD SON WEDS ACTRESS: Gail Goodson, screen actress and daughter of Los Angeles dentist, taken as bride by Guy Glassford, son of Washington Police Chief who came to national attention in connection with bonus march.  Gail Goodson becomes sis Bride at Agua Calienle. Gail Goodson, 18-year-old motion-picture actress, and Guy Glassford, 23, son of Brig.-Gen. Pelham D. Glassford, were married yesterday at the Hotel Agua Caliente, Baja California, according to advice received here last night. The couple flew to the Lower California resort early yesterday. The bride is the daughter of Dr. and Mrs. Galen R. Goodson, of 100 North Sycamore avenue, and was graduated last year from Los Angeles High School.

Guy Carleton Glassford was born on November 8, 1912, in New York City, to Pelham and Cora Glassford. As noted, his father was a police chief. They moved to Texas and then to Los Angeles. He worked as a credit manager for a living.

The Glassfords lived the high life in Beverly Hills, but the marriage did not work out and they divorced in about 1938. Glassford remarried to Utah native Marjorie Robinson, had a son, and died in February 1974 in Denver, Colorado.

Gail started to date her future second husband, Wilfred Donald Burgess, in late 1939. They were often seen in hip nightspots and he gifted her with a magnificent mink coat. They married on March 13, 1941, in Los Angeles. Here is a short description of the ceremony:

Mr and Mrs. Goodson announced the marriage of their daughter Gail to W. Donald Burgess last evening. Dean Ernest Holmes officiated in the presence of about 60 guests. The bride was gowned in ice blue meline with bouffant skirt and satin bodice. Her veil of royal purple meline was held in place by a headdress of fresh violas and violets. She carried a muff of violets and purple orchids. Mrs. J. Francis Gaas, as matron of honor, was in gray chiffon with a headdress of gray tulle with pink roses and delphinium. She carried a muff of the same flowers. Frederick Kessler served as best man.

Burgess was born in Canada in 1912 but moved to the US with his parents in 1922.  He worked as a planter Tendant Supervisor. The marriage did not last long and they divorced in about 1945. Burgess became a naturalized citizen of the US in 1948 and died in March 26, 1978.

Gail’s career was long time over by then, and she slipped from view until 1947, when this announcement was seen in the papers:

Gail Goodson Will Be Bride of New Yorker Dr. and Mrs. Galen Roscoe Goodson of Beverly Hills announce the engagement of their daughter Gail to Alfred Hance Savage of New York, son of Mrs. Harlow Dow Savage of Scars-dale, N.Y., and the late Mr. Savage. The wedding Is planned for May at the Savage estate in Scarsdale. The newlyweds will make their home in New York but plan a honeymoon trip to Los Angeles. At that time Dr. and Mrs. Goodson will entertain at a reception in their new home, 1122 Calle Vista, Beverly Hills.

Alfred Savage was born in 1911 in Kentucky, to Harlow and Edna Savage. He graduated from Phillip Exeter Academy and moved to New York. He worked as a manager of personnel relations for The New York Daily News.

The couple lived in New York and had two daughters, Galen (born in 1949) and Clinton (born on December 15, 1950). Gail became a founder and first president of the Bronx­ville Committee of the National Mental Health Association, and was very active in the Youth Consultation Service and Reach‐to‐Recovery, an organization for women who have undergone breast surgery.

Gail Goodson Savage died from cancer on June 28, 1964 in New York City. Gail’s widower Alfred Savage died on January 19, 1982 in Florida.

 

Constance Weiler

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

EARLY LIFE

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

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

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

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

CAREER

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

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

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

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

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

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

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

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

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

And that was it from Constance!

PRIVATE LIFE

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

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

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

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

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

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

Carol Yorke

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

EARLY LIFE

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

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

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

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

CAREER

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

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

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

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

PRIVATE LIFE

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

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

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

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

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

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

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

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

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

 

 

Beryl McCutcheon

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

EARLY LIFE

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

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

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

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

CAREER

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

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

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

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

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

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

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

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

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

PRIVATE LIFE

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

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

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

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

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

 

Dorinda Clifton

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

EARLY LIFE

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

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

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

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

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

And thus her career started.

CAREER

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

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

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

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

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

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

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

PRIVATE LIFE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

Jana Mason


Jana Mason was a talented singer who set aflame stages al over the States with her sensual, jazzy style. Unfortunately, this did not warrant her cinematic success – she never had a credited part and appeared in only a handful of movies. Let’s hear more about Jana…

EARLY LIFE

Ursula Comantadore was born on September 11, 1929, in Jersey City, New Jersey, to Joseph Comendatore and Frances Caiezza. Her younger sister Dolores was born sometime after 1940. Her father worked first as a fruit and fish salesman – he had his own stall, and her mother was a factory worker in the early 1930s. Later on her father worked at the shipyards – her mother became a housewife.

Jana grew up in Jersey City in scant circumstances. To help her family make more money, she had to give up on her education (she never got past the 10th grade), and started to sing professionally. She was soon singing in several radio stations and after she moved to New York, worked in various nightclubs. In the early 1950s, she moved to Las Vegas and slowly but securely built up her “brand”. Here is a short article about her:

Jana Mason, the canary with the fabulous figure (at Basin Street), is making a fast climb up the success ladder. In the same hour the past week, she signed to do two Bing Crosby shows and put her signature on a Decca contract. She’s been singing professionally for only 14 months.

She was already a seasoned performer with hundreds of concerts and appearances under her belt, and sang for more than the 14 months like the article claims.  Thus she easily landed in Hollywood in 1955.

CAREER

Jana’s first movie appearance was in Women’s Prison, a low-budget women’s prison movie (boy, the name does say it all!). but, that’s not the reason to watch this little “trashy gem” – rather, it is a great women’s cast – Ida Lupino, Jan Sterling, Cleo Moore, Audrey Totter and Phyllis Thaxter. Despite it’s overly dramatic story and obvious flaws, it’s entertaining and ultimately satisfying. Just beware, this ain’t Shakespeare!

Jana’s next feature, 5 Against the House, one of the 1950s caper movies (let’s rob a casino!) that Rat Pack excelled it. No Rat Pack here, but he have some interesting substitutes – Guy Madison, Brian Keith, Alvy Moore, Kerwin Mathews. Let’s be clear, all of them were pretty boys that never won Oscars, but they are more than tolerable here, and Keith is still a notch above the median, and stands up as the best fo the lot.  What this movie does right is the psychological profile of the caperers – they are all different people with their own “demons and angels”. Another plus is a very young Kim Novak – as soon as she enters the screen, it’s clear there is something about Miss Novak that would make her a star a few short years later.

Jana was then featured in My Sister Eileen, the second adaptation of the well-known book. Unfortunately, it’s a lesser movie than the first adaptation (with the wonderful Roz Russell), but it’s still a breezy, happy-go-lucky movie, a true Hollywood delight for taking the blues away.

Jana’s last movie was The Wild Party. It there is one word that can descrive the movie, it’s sleazy. We have Anthony Quinn, playing an over-the-hill football star that holds a thrill-seeking wealthy couple captive. The movie was supposed to be a social commentary on the rich vs. the poor, but dilutes into a semi-exploatation movie with intense sexual innuendo and some pretty lurid scenes (for the 1950s). High art it ain’t, but it’s not a complete waste either. The social message, while it does get lost in the sleaziness most of the time, comes across to some degree, the cinematography is almost noir-like (always a plus in my book!), and Anthony Quinn, oh my! The man was a charismatic powerhouse and did most of his roles justice, and the movie would hardly work with a lesser actor in the leading role of the deranged football player. His supporting cast is less than stellar, but sturdy enough to make it work (Carol Ohmart, Kathryn Grant and so on).

Jana did some TV work on the side, but retired from movies after her marriage for good.

PRIVATE LIFE

Little is known about Jana’s early life. We know she had a cat that the press dubbed “the real cool cat”. It slept on the air conditioner. Funny.

Jana married her first husband, David Victorson, on December 28, 1953, in Los Angeles. Both of them worked in Las Vegas, just in different nightclubs.

David was born on June 23, 1916, to Louis Victorson and Hanna Smith. He was married once before, to Jean Victorson, whom he divorced in 1937. He and Jana met in New York and moved to Las Vegas to further their careers (but in reality to primarily further her career).

Their marriage was not long-lived. In 1955, Jana got involved with a man who would completely change her life – Jackie Barnett, the songwriter for Jimmy Durante. if the name rings a bell to you, I’ll just say it should – Barnett dated a string of Hollywood beauties in the 1940s and 1950s, and was even engaged to several starlets I profiled here on the blog. He sure had a rich social life!

Madly in love with Barnett, Jana and David divorced in 1956 in Las Vegas, Nevada. Victorson married Angela Velasquez in 1961 and died in 1973 in New Yersey.

After that Jana and Jackie went full yuh-voom. They were often seen together eating supper at the late bistros, seemingly without a care int he world and madly in love. However, the relationship was a stormy one, and they constantly fought only to make up later. Their first real break came in early 1956. In June 1956 Jana met sportsman Jim Kimberly, who would become a serious beau and later change the course of her life (read on to find out how!!)

Jana didn’t stick just to Kimberly – she also dated disk jockey Bill Williams. However, by early 1957, Jackie and Jana were back in each other good graces and in April there was talk that Barnett checked city hall about marriage regulations. His bride-to-be was of course Jana. However, nothing came out of it, and they were kaput once again by September 1957.
In November 1957 dated comic Phil Foster, of the “Halavah Hilarities” cast. She claimed it was an “An old friendship.”, and truly, it didn’t last. By December of that year she was back again with Jackie Barnett, and there were again rumors of an impending marriage.

But oh my, to everybody’s eternal regret Jana and Jackie broke up! (NOT). And this time, it was for good. But, Jana was in no shortage of male company. She was singing in Chicago back then, and the wolves-about-town lined up with mistletoe to greet Jana after every Camellia House performance. Jana took up with her old beau Jim Kimberly, and he then introduced her to .his close friend, socialite Freddie Wacker.

Their mutual interest in modern music was a starting point of what ended up a wonderful romance, ultimately culminating into marriage. Frederick Wacker was born on July 10, 1918, in Chicago, Illinois. He was a grandson of Charles H. Wacker, sponsor of the City Beautiful plan and of Wacker drive. He was a professional drummer and passionate race car driver – he participated in five Formula One World Championship races. Here is what their 1958 wedding looked like:

Frederick G. Wacker Jr., musician, sportsman, and industrialist, left the ranks of Chicago’s most eligible bachelors yesterday when he took Miss Ursula Comandatore as his bride in New York City. The ceremony took place at 5 p. -m. in the Madison Avenue Presbyterian church, with a reception in Hampshire House. Mr. Wacker, son of Mrs. Wacker of Lake Forest and the late Mr. Wacker, is a grandson of the late Charles H. Wacker who headed the Chicago Plan commission for 19 years and for whom Wacker drive is named. The bride is known professionally as Jana Mason and was singing in the Drake hotel when she and Mr. Wacker met a few months ago. Her parents are Mr. and Mrs. Joseph Commandatore of Jersey City, N. J. For the wedding, the bride wore a white lace gown and white pillbox to which a net veil was attached. She carried white orchids. Her only attendant was her sister, Miss Dolores Commandatore. Charles Wacker II was his brother’s best man. After wedding trip to Europe Mr. Wacker and his bride will live in his Lake Shore drive apartment.

The Wackers had three children: Frederick Wacker, III (born on January 5, 1960), Wendy, born on August 27, 1961, and Joseph, born in 1963.

Like many ladies whom I profiled on this site, Jana was a victim of a carefully planned burglary in 1965. There was a long and painful list of valuables taken, including several diamond rings and bracelets, two fur coats, and a fur stole.

Jana in the late 1950s and early 1960s was the embodiment of a seemingly dream-like existence – wealthy, healthy, she had an adoring husband and three wonderful children, but she was unfulfilled and wanted more. So, in the mid 1960s, she went back to work. She sang in Monetral, Chicago and Las Vegas. A short article illustrated her life back then:

Freddie Wacker, the social register’s only professional drummer, flew to Montreal to bring his singing wife, Jana Mason, home from her short but smash engagement at the Queen Elizabeth hotel up there. Freddie reportedly wanted no publicity in Chicago on the deal and isn’t overjoyed at talented Jana’s return to the night clubs.

However, her husband’s distaste aside, Jana found her re-enty into the world of showbiz shallow and insipid. Unhappy qand without a clear idea what can be done about it, she one day met a woman who taught Bible lessons, going from door to door. Jana’s interest was enflamed after she met the woman twice, and she joined their group and found a new meaning in life soon after. Determined never ever again to sing a secular song, she teamed up with old friends from the music industry, and recorded a gospel album. Thus, Jana toured the States with a gospel group for several years, and this completely changed her life. She would later say:

“Everybody tries to pressure himself to live up to the guy next door. I used to spend a couple of hours to get ready to go to a party. I was so uptight. Why? Insecurity? I seemed to believe that life revolved around me. There are no special people under God. We are all together, and we need more love. We need to be touched and loved. We are afraid to clap, to touch, to sing out.”

She retired in the 1980s from all forms of performing and lived quietly with her family. Jana’s husband, Freddie Wacker, died on August 18, 1998, at the age of 80. After his death, Jana divided her time between Lake Bluff, Illinois and Indian Wells, California, where her daughter Wendy lived.

Jana Mason Wacker died on August 22, 2013, in Illinois.

Jana’s son, Joseph, died in 2014.

 

 

 

 

 

Millicent Deming

millicentdeming

Young, pretty Millicent Deming proved to be a more apt businesswoman than she was an actress – she worked in a modeling agency as a tutor from her late teens, and later was successful in real estate and had her very own modeling agency. too bad her acting career was so thin… Let’s find out more about her…

EARLY LIFE

Millicent Louise Deming was born on June 12, 1933, in Los Angeles, California, to Robert Edwards Deming and Mildred Fulton. Her father came from a progressive Iowa family – his older brother was William Edwards Deming, a prominent 20th century engineer, statistician, professor, author, lecturer, and management consultant. Robert worked as a super service station proprietor (I have no idea what it is, but it’s written like this on the 1930 census so go figure?)

Millicent grew up in a upper middle class family in Los Angeles, and discovered her love for acting from an early age. Here is a short article about her social life from the late 1940s:

Visitors Coming from Bel Air to attend the junior-senior prom at [shadow Mountain Club tonight is pretty Millicent Deming, who will be squired by Kenny Jackson of P. S. High. Miss Deming has taken junior parts in several movie shorts, one of which was shot down here at the airport with Kenny playing opposite her. She will he the house guest of Mrs. Mildred Jackson

Millicent became a successful businesswoman early in life, before she graduated from high school. Her father opened a modeling school where she worked as a instructor, giving girls lessons in how to be feminine and pose for the camera. On the side, she also worked as a secretary for famous impresario Nils Grauland, and did a nightly KTSL (2) show. She met the right people, and it was only a matter of time before she landed in Hollywood.

CAREER

Millicent’s first movie was Two Tickets to Broadway, the all too familiar musical with tons of unknown actresses playing chorus girls (I think that about 7 or 8 actresses I profiled here actually had an uncredited role in that movie). There is nothing much to say about it, it’s a lower mid tier musical with a moronic story, colorful cinematography and sadly forgettable music. Skip.

Millicent’s second, much better movie, was The Garment Jungle, a bag of mixed pleasures. Basically a racket movie, it’s part film noir with dramatic touches, a so-so mesh of it’s two directors – Vincent Sherman and Robert Aldrich. And boy, we can hardly find two such disparate directors!Sherman was known as a woman’s director in the vein of George Cukor – he excelled in melodrama and worked with great divas like Miriam Hopkins, Joan Crawford and Bette Davis. Robert Aldrich was the master of unseen violence, one of the few directors that showed what a phantom menace looks like. Combine them and you have an interesting experiment – not a completely successful one, mind you. The movie, which ended up begin completely unknown afterwards – has flashes of brilliance as much as some truly dismal parts. The story is nothing to gape about – racketeering in the garment district of New York – but it works as a framing device for some very relevant questions and punches you hard when you finally realize that those things happened in real life. Oh yes, people literary died in these rackets. The actors are a mixed bag too. There are wonderful actors like Lee J. Cobb and , and on the other hand, we have Kerwin Matthews in the lead, handsome enough but a total wooden pole. However, the atmosphere and the style overall is superb. There is much “angry silence”, menace and doom in the air, and you can easily feel that Robert Aldrich did a large portion of the movie. It’s his signature style – brutal yet always subtle. Sherman infuses the more “intimate parts”, and they are lacking compared to the rest of the movie. The female love interest, played by Gia Scala, is so marginal to the story it’s almost sad, and Matthews was too thin an actor to truly pull of the more challenging gentle scenes. If you could pull out the redundant cheesy side of the movie, It’s almost a wonderful film noir, and it’s a shame it so neglected today, despite it’s shortcomings.

Millicent did some TV work (Peter Gunn) before retiring from acting for good.

PRIVATE LIFE

Millicent was 5’ 6”, 34-23-34, blonde haired and hazel eyed. In 1951, at just 18 years old, Millicent was engaged to Serge Ross, a Hollywood stalwart. The engagement was terminated, and she was seen around town with well known attorney Milton Golden.

Millicent married John Anthony Restifo on May 5, 1953. Restifo was born on December 30, 1916, in Washington DC, to Thomas Charles Restifo and Madeleine DiCamillo. He was the oldest of four children (John, Joseph, Nancy and Margaret). His father, who ran a successful beverage business, died sometime in the late 1930s. His mother took over as the head of the business, running it with John and his brother Joseph. John moved to Los Angeles a few years later, along with his mother, and there met Millicent. Little is known of the marriage. They divorced in the late 1950s. Sadly, Restifo died in Mexico in 1964.

Millicent married her second husband, Jorge Ugalde, sometime after the divorce. Their son Mark was born on July 31, 1962 in Mexico City. They divorced in 1963 and Millicent returned to the US.

Millcent married, for the third time, to Gerald Fishbein on January 29, 1964. Fishbein was born on March 12, 1930, to Joseph Fishbein and Esther Levin. His younger sister Joan was born in 1940. His father was a successful jewelry salesman – they always had a servant in the household. His parents moved to New York not long after his birth. They lived in Queens where Gerald grew up. Gerald returned to California at some point.

Gerald adopted Mark, and Millicent and Gerald’s only child, daughter Leslie, was born on March 17, 1966. After living n Los Angeles with a lofty social life, Millicent and Gerald divorced on December 22, 1982. He married Emily S. Adehlson in 1985 and continued living in California.

Millcent married her third husband, William T. Reynolds, on April 6, 1985.  Born in Trenton, New Jersey, February 11, 1923, to parents William Titus Reynolds, Sr. and Mary Knode Reynolds, he attended schools in Pennsylvania, New Jersey and Florida before moving to California following service in the Pacific Theatre during World War II. He was a graduate of the University of Southern California with a B.S. in Finance (Magna Cum Laude), and an M.B.A. He had a long career in financial services. While in graduate school, he was employed by Hill Richards & Co. in Los Angeles. In Pasadena, he was broker/manager at Blyth & Co., later Blyth Eastman Dillon, Paine Webber and, finally, UBS. He was a Past President of the Bond Club. Reynolds was married once before, to Mary Electa Nehman, and they had three daughters: Cornelia, (born on June 30, 1948), Electa (born on October 28, 1950), and Rosemary (born on May 12, 1953).

Never the one to sit idly after the demise of her acting career Millicent ran the Millicent Deming Commercial Modeling Studio for several decades, and has been a licensed real estate agent in California for 37 years and is currently with Exclusive Estate Properties in Northern Hollywood. Millicent focuses on Pasadena, where she has lived for many years.

As for her civic life, Millicent served as Member of the Advisory Committee of The Pasadena Symphony among others. Sadly, Millicent and William divorced in the 1990s or 2000s. Millicent moved to La Canada-Flintridge after the divorce.

Wiliam T. Reynolds died on April 9, 2013 in San Gabriel.

Millicent Deming Reynolds lives in California today.