garbonza

Posts Tagged ‘Sophia Loren’

American Idol of 1959: Hottest Female Stars

In film, history, music on August 9, 2014 at 5:50 am
Connie Francis, sultry in stills, goofy in films.

Connie Francis, sultry in stills, goofy in films.

1. Marilyn Monroe — now aged 33 after a dozen years in movies, she releases her first film in two years, comedy blockbuster Some Like It Hot from Billy Wilder and co-starring Tony Curtis and Jack Lemmon. After time off in New York studying at The method, it’s enough to put her back at the top around the world, voted the Golden Globe by Hollywood’s international press corps as the most popular movie star internationally.

2. Brigitte Bardot — the prototypical French “sex kitten” since And God Created Woman three years ago, turning 25 this year, as well as tops in Europe for the past two years she has been scoring multiple hits across the US, Babette Goes to War being one of three this year.

3. Gina Lollobrigida — at 32 a superstar in Europe for almost a decade but hampered in the US by her contract with crazy Howard Hughes, she has recently broken out as co-star of top US male stars with international blockbusters Trapeze (with Burt Lancaster and Tony Curtis), Hunchback of Notre Dame (Anthony Quinn), Anna di Brooklyn/Fast and Sexy, Solomon and Sheba (Yul Brynner) and Never So Few (Frank Sinatra & Steve McQueen)

4. Connie Francis — at 20, easily the top female seller of discs across the US, scoring three gold awards this year in ‘My Happiness’, ‘Lipstick On Your Collar’ and ‘Frankie’, and the first to sell ten million discs in one year; and filming Where the Boys Are for MGM, which will make her into a top Sixties screen attraction in youth comedies

5. Doris Day — a veteran at 37, but no.1 woman (4th overall) in the US box-office list with frothy comedy Pillow Talk with Rock Hudson already out, Please Don’t Eat the Daisies (with David Niven) and foggy London thriller Midnight Lace (Rex Harrison, John Gavin) upcoming.

6. Debbie Reynolds — second only to Doris Day among women in the US box-office list (5th overall), and at the peak of her career — at 27 — helped in her private life by losing singer Eddie Fisher to Liz Taylor.

7. Sophia Loren — now turning 25, has had several high-profile US film releases hoping to replicate her European success, but yet to find her niche unlike the sensation made over Brigitte.

8. Kim Novak — the first buxom blonde to overtake Marilyn Monroe at the US box-office, through Picnic (1956) and Vertigo (1958) though only briefly as it turns out.

9. Elizabeth Taylor — an MGM star since National Velvet (1944) at 12, fresh from Raintree County with Montgomery Clift and Eva Marie Saint, and Cat On a Hot Tin Roof with Paul Newman, her sole release this year is the mildly successful Suddenly Last Summer with Clift and Katharine Hepburn, poised for an Oscar and return to the box-office ten next year.

10. Sandra Dee — The blonde teen is rocketing into the official box-office top 10 movie stars in the USA as Gidget and in grown-up soap A Summer Place.

11. Lana Turner — The 39-year-old veteran — in movies 22 years — is enjoying a comeback via Peyton Place and Imitation Of Life. This sexy momma’s career is boosted out of sight by her daughter’s stabbing murder of mom’s abusive boyfriend, gangster Johnny Stompanato who has shared his charms around the upper echelons of Hollywood stars.

12. Connie Stevens — turning 21, a veteran of teen exploitation flicks Young and Dangerous and The Party Crashers and star of Warner Bros’ Hawaiian Eye on tv, still growing in drive-in appeal on the big screen.

13. Susan Hayward — just turned 40 as the year starts, winning the Oscar for I Want to Live as a woman on Death Row, she is hotness personified for the mature set too in A Woman Obsessed with younger man Stephen Boyd, helping her to make no.10 on US box-office listings.

14. Diane Varsi — starring and Oscar-nominated as Alison MacKenzie in Peyton Place (1957) at 20, she has not quite maintained her momentum with the nonetheless rivetting Compulsion this year and leaves Hollywood abruptly for reasons of survival and emotional stability.

15. Lee Remick — at 23 is on the up as a blonde sex kitten with subtlety, and slightly built, through A Face in the Crowd, The Long Hot Summer and now Preminger’s Anatomy of a Murder.

16. Carroll Baker — following a sensational role as Baby Doll (1956), building with Giant and The Big Country, she is now stalling, poised for another big push in the mid Sixties with The Carpetbaggers and Harlow but too late at 35.

17. Tuesday Weld — exploited by stage parents from age three, entering a period of breakdowns and addictions in adolescence, she is now turning 16 and put into lurid sexploitation flicks (Sex Kittens Go to College, The Private Lives of Adam and Eve, Return to Peyton Place) by her
minders but despite all the odds against her manages a considerable career in the end.

18. Eva Marie Saint — Emerging from New York’s method acting school since her belated debut (at 30) as Marlon Brando’s squeeze in Elia Kazan’s On the Waterfront, she has been looking younger, breaking the mold as a very versatile blonde — focusing on character, so without the constant screen persona, image and star vehicles to make a superstar impact, just Hitchcock’s North By Northwest this year but making a lasting impression and preparing for Otto Preminger blockbuster Exodus releasing next year

19. Annette Funicello — The wholesome Disney star, 16, scores her first of four Top 20 hits in ‘Tall Paul’ (#7 Billboard, her career peak) and ‘First Name Initial’. Having graduated from tv’s Mickey Mouse Club, and now in her own Disney tv series, she is on the rise in movies too starting with The Shaggy Dog this year before moving on to Babes in Toyland (1961) with Tommy Sands and then her famous series of “beach movies” co-starring Frankie Avalon.

20. Hayley Mills — The new English child star, 13, has the central starring role in father John Mills’ suspenser Tiger Bay, released in the US in December. Already, she is in America filming the title role of Pollyanna for the Disney studio, to be released to acclaim the following May (1960) shortly after her 14th birthday. Her series of family Disney movies will make her the world’s no.1 child star (until she turns 20).

Honorable mention: Jayne Mansfield, Mamie Van Doren, Hope Lange, Joan Collins, Diana Dors

Advertisements

THE INCREDIBLE SHRINKING MAN

In film, generational/fashion, ideology, sociology, television on May 5, 2013 at 10:22 pm

This is one of those articles you write when you’ve got nothing better to do on a stormy Auckland morning. The subject isn’t of much significance. Or is it? It has nothing to do with the Sc-Fi classic of the same name, c.1957, but maybe everything to do with the age we live in. I’m thinking that the sheer preponderance of shrunken men placed in the limelight these days has something to do with what women want today — females being the biggest force in spending power and determining who is box-office on screen, online, in social networking, in magazines: someone to tower over in image, in achievement, moral superiority as they do already, but finally too in actual physical dominance. Why else would tall women continue queuing up to marry Tom Cruise, perhaps the ‘biggest’ movie star of the past thirty years and by reputation at least, the shortest? Not to mention rather elfin-looking Johnny Depp, Brad Pitt, Matt Damon, George Clooney, Leonardo DiCaprio who have been no shirkers in earning power by the lights of woman power.

Once upon a time in the movies — let’s limit it to talkies, so from c.1930 on — a man had to be six feet tall or faking it to be taken seriously as a ‘romantic’ star. It hadn’t been so in the 1920s, when silents were perfected as an art form. The art was in what the filmmaker chose to depict, for example a towering domineering character portrayed by a short actor like Douglas Fairbanks; or a backbiting comedic foil in 5ft-11 Flora Finch. A “tall” leading woman of early talkies, playing straight, was Katharine Hepburn, 5ft seven and a half. Then a decade later came Ingrid Bergman and a generation after, Sophia Loren, both a whole half inch taller. In late silents the dominant male was the Latin lover type, more stocky and lean-muscular, of whom Rudolf Valentino, 5ft-10 or -11, was probably tallest; John Gilbert, Ramon Novarro, Antonio Moreno, Ricardo Cortez, Gilbert Roland and lesser stars of the genre were average to short.

In 1931, soon to be the most popular romantic male star of all, was Clark Gable, 6ft-1, his publicity said. Those who knew him whispered that The King was “a short 6ft-1” meaning he slouched an inch or so. There were Gary Cooper, nearing 6ft-3, Joel McCrea and Randolph Scott the same; Olympic swimming champion Johnny Weissmuller in rather specialised roles, namely one — the reigning Tarzan and nothing else for 15 years. In the mid Thirties arrived smoothies Ray Milland and Fred MacMurray, in the same range; with Henry Fonda, Errol Flynn, Cary Grant all 6ft-2, James Stewart 6ft-4. John “Duke” Wayne was 6ft-4 and a half but not a major star until the mid Forties. Sterling Hayden (6ft-5) was supposed to be a major star from the start but the war and left-wing stances derailed his career somewhat; and Rod Cameron at least that tall in westerns, but not much of a star, maybe C-grade, or an actor come to that. Fess Parker was that tall too, enough to play Davy Crockett and Daniel Boone without a stretch. Of course there were big stars supposed to be six foot by publicity but fell just short: Robert Taylor, Tyrone Power, William Holden.

Of shrimpish early cowboys I have noticed only G. M. “Bronco Billy” Anderson going back to The Great Train Robbery (1903), and Thirties B-star Bob Steele, not seen for just how challenged he was until up against Forrest Tucker in F Troop on Sixties tv. The big exception to the rule was the studio of the Warner Brothers, who persisted for the first few years of talkies with short (and black-faced) song-and-dance star Al Jolson, squat hero Richard Barthelmess, and overreaching thespian John Barrymore, all ridiculously popular but whose combined salaries — nearly two million simoleons a year — were enough to almost bankrupt the company. Their new stars of the Thirties and Forties specialised in contemporary urban crime movies and still ranged from short to average height — average for a normal man of the time that is, six inches shorter than your average screen hero: Edward G Robinson, John Garfield, James Cagney, Paul Muni, George Raft, Humphrey Bogart, in ascending order but all 5ft-5 to 5ft-8. It was a studio that boasted even shorter character actors to make the pint-sized heroes look heroic: Claude Rains, Peter Lorre, Frank McHugh, Allen Jenkins, Edward Brophy; and perversely consigned all but Errol Flynn of its 6ft-2/3 squad to sub-star level: Basil Rathbone (a constant villain until he became the classic Sherlock Holmes), Patric Knowles (Will Scarlett), James Stephenson, John Ridgely (the commander in Air Force), Paul Henreid (suave continental — type 1), Conrad Veidt (continental villain — type 2), utilitarian heavies Ward Bond and Barton MacLane (The Maltese Falcon), Wayne Morris (promising all-American type cut off by the war), Alan Hale (Little John), Guinn Williams (Flynn’s sidekick in westerns), Bruce Bennett (Treasure of the Sierra Madre)– adding up to an awful lot of very tall men theoretically wasted for their potential physical presence on screen at one studio in one decade.

By the Fifties the crunch was on. Far fewer movies were being made by the big Hollywood studios, suffering competition from television, and new stars magnetic, talented and versatile enough to cover varied roles — and tall too — could be counted on one hand: Gregory Peck and Charlton Heston at 6ft-3 and Robert Mitchum and Burt Lancaster at 6ft-1. Victor Mature and Cornel Wilde were action men in this height range and popular for 15 years postwar, but gave the impression of filling in for the very top names; at the much lower level of the Saturday matinee, the Lex Barkers and Jock Mahoneys providing bulk product. A-list stars Kirk Douglas and Richard Widmark, in typically big-man roles, had to stretch considerably to fill the screen. At a time when even 5ft-10 and a half or so was considered tallish for “the man in the street” (so called to distinguish him from real men on screen), Marlon Brando, Paul Newman, Tony Curtis and Steve McQueen played men in the street at an inch or so under this height. But the most popular Western heroes on tv in the late Fifties and early Sixties strove to be six and a half feet tall and look effortless doing it. James Arness of Gunsmoke was said to be 6ft-7. Gunsmoke< His real-life brother, Peter Graves in Fury, was the runt of the family at 6ft-3. Clint Walker as Cheyenne Bodie, was 6ft-6; Chuck Connors in The Rifleman, and Gardner McKay (Adventures in Paradise) 6ft-5; Eric Fleming as trail boss Gil Favor and Clint Eastwood as ramrod Rowdy Yates in Rawhide, both 6ft-4 at peak; ditto John Russell as Lawman and Tom Tryon (Texas John Slaughter). And James Garner, that little old man in the sitcoms, used to be 6ft-3 when he played Maverick. It was 55 years ago after all. And I too can testify to some shrinkage with age.

Strangely, of all tv stars, only Eastwood, Garner and Steve McQueen, arguably Tryon in a very brief stint, and later Burt Reynolds, went on to be movie stars — all coming from western series. Guy Williams (Zorro), 6ft-2, had to go to Italy to be fully appreciated in swashbucklers on the big screen, where the even taller Steve Reeves (Hercules) and Gordon Scott (Tarzan) were already superstar beefcake. The biggest star on the big screen through the late Fifties and early Sixties, Rock Hudson, was 6ft-5. But 5ft-9ers began to predominate: Paul Newman, Steve McQueen; and by late in the decade young up-and-comers (Michael Anderson, James Stacy, Mark Slade) were compact to the point where two 6ft-4 supporting actors were brought in as father figures to tower over everyone else in High Chaparral (Leif Ericson) and Lancer (Andrew Duggan).

In an atmosphere like this no wonder Alan Ladd, a western hero (Shane, 1953) but 5ft-6 and a half, felt such a misfit, so isolated and insecure as to be suicidal — pilloried in the States in contrast to Brit heroes John Mills and Richard Todd were visibly shorter but held aloft rising above their female co-stars on stilts. Ladd complained of Boy on a Dolphin (1957) that playing love scenes with Sophia was like being pummelled with melons. (Poor him!) And poor Richard Widmark, erect and lean — but 5ft-9 will only go so far — was acutely embarrassed and tried to withdraw from John Wayne’s production of The Alamo (1960) when he found out he was playing pioneersman and cutlery craftsman Jim Bowie — built like a brick teahouse and standing 6ft-6 in actuality. Wayne, producing and directing at the same time, was committed to playing the somewhat smaller role of Davy Crockett a lot taller: a sawed-off Crockett, of all icons, was not an option.

In an age of feminism thriving in the early Seventies, Dustin Hoffman (5ft-5) and Al Pacino (5ft-6) started the trend to conspicuously pixie-sized leading men — and let it all hang out up against taller leading women like Marthe Keller and Diane Keaton, though wisely never paired with amazons Sigourney Weaver or Geena Davis: a bridge too far of logistical illusion. Of Robert De Niro, Jack Nicholson, Sylvester Stallone, Chuck Norris, Jean Claude Van Damme, Jackie Chan, none can be called above the average range, never mind tallish. My impression of Arnie’s height is more mind over matter. Black men, by contrast, were always expected to be of some physical menace, at least of strong implied authority, on the screen (but for comedians — Bert Williams, Flip Wilson, Eddie Murphy). So for Canada Lee, Noble Johnson, Juano Hernandez, James Edwards, Harry Belafonte, Brock Peters, Woody Strode, Ossie Davis, Sidney Poitier, Jim Brown, Yaphet Kotto the bar of just standing there 6ft was the lowest of hurdles they had to meet.

Today, of very tall actors I can think of Liam Neeson… and then there’s… Did I mention Liam Neeson? Maybe Daniel Day Lewis — playing Abe Lincoln, after all. Oh, and there’s that other guy who looks taller than average — can never remember his name, good actor — in that remake of Driving Miss Daisy with Shirley MacLaine playing a former president’s widow: Nicholas Cage. On tv, 6ft-3 and a half and 6ft-4, Vincent d’Onofrio and Jeff Goldblum on Law & Order: Criminal Intent, great actors but not all that stellar.

Hard to believe that men’s (perceived) height is still an imperative with many people, one way or the other. There are authoritative, convincing lists of heights of US presidents “proving” that the tallest ones — Abraham Lincoln, Thomas Jefferson, George Washington, Franklin Roosevelt — 6ft-4 down to 6ft-2 — were the greatest ones. And on dating sites, tall women of 5ft-11 short on brains insist on the inalienable right to wear their seven-inch heels and to still have a man that towers over them — the top 0.00001 percentile of men, that is. I’ve just discovered another secret of life — No wonder butt-ugly basketball players with just enough brains to get by on sports scholarships are so popular as breeding stock!

UGGOS OF THE WORLD, UNITE!: You have nothing to lose but your body image

In celebrity, film, Humor, music, television on November 15, 2012 at 7:46 am

This post is dedicated to the Susan Boyles of the world, and that big fat guy that Simon Cowell also ridiculed until he opened his mouth — then Cowell’s eyes sparkled with dollar signs; the Roy Orbisons, the Ernie Borgnines, Lee Marvins, Pat Hingles, Dennis Franzes, Charles Laughtons, Ed Begleys, Broderick Crawfords, Edward G Robinsons, Van Heflins, William Conrads, Linda Hunts, Kathy Bateses, Daniel Benzalis…

Even Rod Steiger, who was basically a good-looking guy but was told by a Hollywood producer, “Lose 40 pounds and I’ll make you a star.” Well, he made it anyway.

To Alan Ladd, a head shorter than the usual screen hunk, who was told by the director when playing a love scene in Boy on a Dolphin with Sophia Loren, “Ooh, that bruising’s terrible. Here, stand on this box and you won’t be bombarded in the face.”

To Phyllis Diller, who listened to some schmuck who said, “Hey, just get some plastic surgery and you’ll be cute” — and was never heard from again.

To Clark Gable, who pulled through as the hunk among a thousand babes at MGM, where he was at first dismissed with, “He’ll never amount to anything with those sugarbowl ears.”

To Fred Astaire, a human stick insect who made Jiminy Cricket look handsome, and went down in history as the screen’s most graceful male dancer.

To Judy Garland, ridiculed for a face that was anything but chocolate-box standard and a tendency to retain baby fat, and turned out to have more talent than any of them.

To Liza Minnelli, handicapped by being the daughter of Judy Garland mated with gifted but skunk-faced director Vincent Minnelli, and still made a worthwhile career.

To all the beautiful young women, fashion models, who were told by flamboyant men in charge who can’t appreciate their womanly curves, “Just a few more pounds, ducks” — and became junkies and/or died for it.

To those pretty boys Robert Taylor, Errol Flynn and Tyrone Power, who ignored or made little of their own incredible good looks to prove they had talent.

To Michael Jackson who swallowed all the hype about Aryan looks and paid the ultimate price for it.

And to Marilyn Monroe, one of the most vibrant screen presences ever, who to win conventional stardom submitted to casting couches, nose job, chin implant… so life would be perfect.

Special mention must be made of the stars of British television, who can look like the hind quarters of a British bulldog and still win romantic leading roles on the small screen. Just two of the most popular: David Jason, all 5ft-5 of him, bug-eyed, bulbous-nosed, all set off by a David Lloyd George haircut and Sydney spiv hat — and as Detective Inspector Jack Frost of the Denton police, Thames Valley, harassed by multiple lovers from one series to the next. Hugely popular for forty years, he was most believable as comedic secret agent in the slapstick title role of The Top Secret Life of Edgar Briggs; less as a serious detective still pulling slapstick turns. And Zoe Wanamaker, very successful in the romantic stakes on tv though seemingly hampered by her father Sam’s oversized upturned nose and lacking her father’s large soulful eyes. Congratulations also to Jack Shepherd (Superintendent Wycliffe), overcoming his anteater nose, Kevin Whately (Inspector Lewis), ageing to look like Stan Laurel, Warren Clarke (Dalziel), bulldog by nature and visage, and innumerable other English and Scottish detectives blessed with characterful looks.

Merit Awards for Uggos in American film genres: general purpose misfits Boris Karloff, Raymond Massey, Sam Jaffe, James Whitmore; Eli Wallach, Jack Elam, Neville Brand, Bruce Dern, Warren Oates, Strother Martin, L. Q. Jones for bushwhackers and trail scum; so-ugly-they’re-a-thing-of-beauty Lee Marvin, James Coburn, Lee Van Cleef; hoodwinkers, desert rats and down-and-out gentlemen Charles Coburn, Sydney Greenstreet, Fredric March, Dan Duryea, Albert Dekker, Ralph Bellamy and Edmond O’Brien.

%d bloggers like this: