Showing posts with label Marilyn Monroe. Show all posts
Showing posts with label Marilyn Monroe. Show all posts

Tuesday, June 14, 2022

OVP: The Asphalt Jungle (1950)

Film: The Asphalt Jungle (1950)
Stars: Sterling Hayden, Louis Calhern, Jean Hagen, James Whitmore, Sam Jaffe, Marilyn Monroe
Director: John Huston
Oscar History: 4 nominations (Best Director, Supporting Actor-Sam Jaffe, Adapted Screenplay, Cinematography)
Snap Judgment Ranking: 3/5 stars

Throughout the month of June, in honor of the 10th Anniversary of The Many Rantings of John, we will be doing a Film Noir Movie Marathon, featuring fifteen film noir classics that I'll be seeing for the first time.  Reviews of other film noir classics are at the bottom of this article.

We are hitting the halfway point in our month-long celebration of film noir, so it makes sense that we finally enter the 1950's, and we're doing so with not just the most lauded of the films we'll profile (at least in terms of Oscar success), but also one that brought about a future global superstar.  Marilyn Monroe didn't star in a lot of film noir once she became a big name, but in the first few years of her career, she made four films in the genre: Don't Bother to Knock, Clash by Night, Niagara, and The Asphalt Jungle.  We are only going to do one of these films this month (we've still got a lot of ground to cover as we're ending in the 1970's), but I will confess that while I've seen 70+% of Monroe's films, I've never seen any of these movies, despite the fact that film noir is my favorite genre.  So let's check out The Asphalt Jungle.

(Spoilers Ahead) The movie is about Doc (Jaffe) a criminal genius who has just gotten out of prison, and is already hoping for his next big score.  He thinks he's found it when he chances upon a stash of jewelry worth half a million dollars.  However, Doc needs three men (a safecracker, a driver, & a "hooligan") to pull off the job, and that requires money, which he gets (supposedly) from Alonzo Emmerich (Calhern)...but Emmerich doesn't actually have the money.  He's broke, and is planning on stealing the jewelry for himself.  One of the three men that Doc hires is Dix Handley (Hayden), who is a bit of a renegade whose only truly redeeming quality is his ex Doll Conovan (Hagen), who loves him despite his faults.  As you might expect, things go awry with the jewelry heist, and one-by-one each of the men fall, leaving behind the women who love them.

One of those women is Monroe.  This was very early in her career (the same year she made her big splash in All About Eve in an equally small role), and here she's playing Calhern's girlfriend (he's married to another, older woman).  Monroe steals every scene she is in, though it's hard to tell how much of that is sheer screen persona and how much of it is performance.  This is, admittedly, always the problem with Monroe's movies-how can you tell the difference between the legend and the actress?

Taking the Monroe out of it, this is a fine movie, with strong performances all-around (Calhern, Jaffe, & Hagen are also great), but no one is hitting a home run.  Hagen & Jaffe, in particular, feel like they're one scene short of something truly incredible, and that's kind of the film's problem.  There's nothing wrong with it, but with the Hays Code keeping its neck on the inevitable ending (the audience is actively rooting for the bad guys, and wants at least one of them to get away with the heist), it kind of feels like a letdown when they all end up dead or in jail.  Needs more focus, but well-edited & it picks up in the back-half.

Sunday, December 27, 2020

Saturdays with the Stars Season 2 Finale

Two of our legendary Stars of 2020,
Sophia Loren & Jayne Mansfield
Yesterday with The Three Musketeers we hit the finale of our second season of "Saturdays with the Stars," and before we start the new year (and a new season, devoted to Hitchcock's leading ladies), I wanted to take time to celebrate another season, and one I treat as a success.  We never missed a Saturday (there was one close call, but that was really it-being stuck at home made at least this part of 2020 easier), and I saw a lot of new movies & now have a better understanding of twelve stars, some of which I knew next to nothing about before this year.  And I hope you learned something as well!

It's always fascinating to me to focus on an actor's career, rather than as we typically do in film discussions on a director's.  Watching these women, particularly under the guise of "Sex Symbols" was intriguing to me because Hollywood had different attitudes toward these beautiful women as the public began to find their sexuality passé, or eventually, absent.  It is kind of heartbreaking to watch someone like a Jayne Mansfield or Raquel Welch, who clearly chose poorly at select moments of their careers & paid the price for it, and fascinating to watch a figure like Sophia Loren or Ann-Margret who was able to rise above their studio-forced persona and eventually gain mainstream critical recognition in their lifetimes.

Every film I watched this year was a movie I was seeing for the very first time, as well, so once again I was blown away by the expanses of Classic Hollywood, rich with westerns and noir and musicals that I'd never been exposed to.  Next year we'll do our third and final tour of Classic Hollywood actresses (after that, if we continue the series, we're going to either add men or a more modern element for a fourth season), so we'll continue to mine this well, but before we do that, let's hand out some superlatives for this year's leading ladies.

Favorite Performance from Each Star


5 Favorite Actresses of the Year (Alphabetical)

Jean Harlow
Rita Hayworth
Sophia Loren
Marilyn Monroe
Lana Turner

5 Favorite Performances of the Year (Alphabetical)

Rita Hayworth, Separate Tables
Sophia Loren, Two Women
Marilyn Monroe, The Misfits

10 Favorite Films of the Year (Alphabetical)


Top 10 Performances of the Year (Not By Our Leading Ladies)

Clark Gable, The Misfits
David Niven, Separate Tables
Eli Wallach, The Misfits
Ethel Waters, Cabin in the Sky
Eve Arden, Cover Girl
Jennifer Jones, Beat the Devil
Juanita Moore, Imitation of Life
Laird Cregar, I Wake Up Screaming
Susan Kohner, Imitation of Life
Thelma Ritter, The Misfits

Saturday, June 27, 2020

The Misfits (1961)

Film: The Misfits (1961)
Stars: Clark Gable, Marilyn Monroe, Montgomery Clift, Thelma Ritter, Eli Wallach
Director: John Huston
Oscar History: No nominations
Snap Judgment Ranking: 5/5 stars

Each month, as part of our 2020 Saturdays with the Stars series, we highlight a different actress known as an iconic "film sex symbol."  This month, our focus is on Marilyn Monroe-click here to learn more about Ms. Monroe (and why I picked her), and click here for other Saturdays with the Stars articles.

Few films have productions as steeped in lore as The Misfits.  If you study film history at all, The Misfits shows up in a lot of texts about this era.  It was, as we'll discuss below, the final film of two Hollywood legends.  It also had pretty much everyone on the set at each other's throats, from Clark Gable & John Huston quarreling throughout the shoot (weirdly in the first & only film that they ever made together) to Marilyn Monroe & screenwriter Arthur Miller's marriage falling apart on the set of the movie they were making together to of course the continued "slow suicide" of Montgomery Clift after his car accident.  Pretty much everyone on the set suffered from some form of alcohol abuse, and production delays abounded.  But what of the film itself?  I have weirdly, despite having read about this movie for most of my life (and having written in college a 120-page paper about American cinema in the 1960's), never actually gotten around to seeing it, and if I was going to do a month devoted to Marilyn Monroe, there was no way I wasn't going to plug this gap in my film-watching.

(Spoilers Ahead) The Misfits is a little hard to explain in a conventional way, but let's give it a shot.  The picture starts with Roslyn (Monroe) getting a divorce in Reno from her husband for emotional neglect (her husband is played by Oscar nominee Kevin McCarthy in a truly 1-minute cameo, if not less).  She is staying with a local landlord named Isabelle (Ritter), and being as she's played by Marilyn Monroe, Roslyn quickly gets attention from the men of the town, including two cowboys: Gay (Gable), a rough-and-tumble guy and his driver best friend Guido (Wallach).  Roslyn & Gay move in together in Guido's house, even though it's not entirely clear that they are romantically linked (it's treated in many ways throughout the movie not as a love story, but more as a father getting a chance to raise the surrogate daughter that he gave up for his cowboy ways), though Guido clearly lusts after Roslyn.  At a rodeo, they meet Perce (Clift), a dumb rider who nearly kills himself and decides to join up with Roslyn, Gay, and Guido as they wrangle mustangs in the desert.  Slowly, Roslyn understands the cruelty of these men's lives as she sees them basically track and nearly murder a bunch of wild mustangs.  She calls them out on it, and in the dark with Perce she frees them, angering Gay.  Guido, still obsessed with her, tries to make a move but she says he's heartless, and it turns out she's right-he encourages Gay to leave her, but instead, after an extended shoot where he tries to tame a stallion, he lets them loose, driving off into the sunset with Roslyn, their future uncertain but knowing they love each other.

The Misfits is a strange film.  Honestly-I didn't really know what to expect considering its place in film lore and its position in the early 1960's, when even westerns that would be conventional like The Man Who Shot Liberty Valance would challenge some of the assumptions we have about heroes and villains.  It's more avant-garde than you'd think.  While yes, at its center this is the story of one man (Gable) struggling with modernity, aided in that struggle by a beautiful woman (Monroe)-basically the plot of most westerns-we also realize that it's Monroe's Roslyn who was right the whole time, not just about him needing to give up this life, but that perhaps this life wasn't necessary to begin with.  The film is brutally violent in scenes (the mustang wrangling is disturbing, particularly since with John Huston in the director's chair, there's no assurance those horses weren't injured at some point), and sex permeates the movie.  Aside from a scene where Monroe is topless (you see her from the back), you have Eli Wallach's Guido lusting after Monroe in a way that I don't remember seeing in a movie like this, at least not very often.  It feels carnal, and is a big payoff for the later scene where Monroe tells him off.

Because honestly-this movie is fantastic.  You can quibble over whether certain sequences go too long, or whether it's too much mood, but I loved it.  The script is tight-Miller was writing it as he went along, but it doesn't show as his vision comes together in the end.  The direction is glorious-Huston enjoys the action sequences the most (and they're thrilling if also gut-wrenching), and the score is divine.  Best of all is the acting.  Wallach, as I mentioned, is out-of-this-world good; if this movie hadn't been considered a disappointment at the box office, it's easy to see him getting an Oscar nomination.  Ritter is great as ever; there's this weird, odd scene in the center of the movie where she opines about the husband who left her for her best friend, and everyone is confused about why she's happy to see them, but it works.  Ritter's face & gestures indicate an understanding of love, even love that's lost or mistreated, that I found so moving.  And then there's Clift, who finds an authenticity in his rodeo clown that feels genuine.  Clift occasionally feels like he's about to forget his lines (and indeed, that might have been the case-if I had to pick a weakest link in the cast, he'd be it though he's still solid), but at least he picked a character where that is convincing.

Gable & Monroe are sensational in the leads.  Even with the box office disappointment, I'm kind of stunned Gable didn't get a posthumous Oscar nomination for this-it might be the best performance he's ever given (give or take Rhett Butler), and I like Gable in a lot of movies.  As he's worn down, you find a man who has long since lost his youth & his reason for even existing, but he keeps on living, and has to find a way to acknowledge that he's still living.  It's so profound, and while Gable is an A+ movie star at his best, I didn't really know he was this good of an actor.  The same has to be said for Monroe.  This could be another dumb blonde where men do crazy things to sleep with her, but it's not.  She finds something there in this lost soul, a woman who has something to say but doesn't understand how to get it out.  Monroe, deeply introverted in real life, rarely played such characters onscreen (there are actually very few introverts in Classical Hollywood cinema), but here it suits her grandly. This is possibly Monroe's best performance too (give or take Sugar Kane), and it's a bummer she didn't think so (Monroe disliked the movie & her work in it).

The film, as I mentioned above, was the end of the road for two Hollywood legends.  Gable died 12 days after shooting of a heart attack.  He wasn't that old all-things-considered (the film would be released on his 60th birthday, a few months after shooting), but you can tell that decades of smoking & drinking had worn down the matinee idol.  Monroe, 24 years his junior, also would never complete another film.  Though she had started shooting the (yet-another-troubled-shoot) film Something's Got to Give, Monroe died before it was completed, of a drug overdose, a potentially intentional one.  We've discussed the many conspiracies surrounding Monroe's death before (click the link if Hollywood true crime is your jam), but in the light of just watching The Misfits, it feels especially tragic, and adds a sense of anguish to the final scenes of Gable & Monroe driving off into the sunset that John Huston never could have intended.  Here we have two of the true legends of cinema, uniting for the only time, in some of their best ever work, and soon to die tragically young.

That ends our month devoted to Marilyn Monroe, the quintessential sex symbol in a year-long series devoted to cinematic sex symbols.  As we'll see in July, though, we aren't entirely abandoning Marilyn-her legacy will be felt next month, both in terms of heightened, sexualized glamour...and unfortunately, even more tragedy.

Saturday, June 20, 2020

OVP: Let's Make Love! (1960)

Film: Let's Make Love! (1960)
Stars: Marilyn Monroe, Yves Montand, Tony Randall, Frankie Vaughan (as well as some fun cameos I'll reference in the review)
Director: George Cukor
Oscar History: 1 nomination (Best Scoring)
Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2020 Saturdays with the Stars series, we highlight a different actress known as an iconic "film sex symbol."  This month, our focus is on Marilyn Monroe-click here to learn more about Ms. Monroe (and why I picked her), and click here for other Saturdays with the Stars articles.

For our final two weeks with Marilyn Monroe, we're going to focus on the very tail end of the actress's career.  Last week we talked about one of the biggest triumphs of Monroe's career, Bus Stop, which brought her critical hosannas (serious ones) for the first time in her career, and was a huge box office hit for Fox.  This was followed with two legendarily difficult shoots for Marilyn, the first being the now-maligned The Prince and the Showgirl (with Laurence Olivier) and then the smash-hit classic Some Like It Hot, where she feuded relentlessly with costar Tony Curtis & director Billy Wilder.  Despite Some Like It Hot's success (it won Monroe her only competitive Golden Globe), she took another year off before making her next movie, today's film Let's Make Love!.  The film was a big deal not only for Monroe, but her costar Yves Montand, who was making his English-language debut after a decade of starring roles in European cinema, and becoming the toast of the New York theater scene with his one-man show.

(Spoilers Ahead) In a weirdly similar opening to The Seven Year Itch, we go through the family tree of Jean-Marc Clement (Montand), a billionaire whose ancestors all had a knack for making money and were frequently distracted by "balloons" (the script's entendre, not mine).  He is considered a spoiled playboy, and a local theater production about famous figures of the early 1960's is skewering him.  He goes down to show he's "in on the joke" as a bit of publicity, but there is mistaken for an actor pretending to be Jean-Marc Clement, and goes along with the casting when he falls for Amanda (Monroe), a beautiful actress who leads the production.  Jean-Marc gets to see a woman actually fall for him, and not his money, as she just assumes he's an out-of-work actor.  However, Amanda is dating the show's leading man, Tony (Vaughan), so Jean-Marc, along with his assistants (including Tony Randall playing the same role Tony Randall always played in these types of films-the best friend), recruit the help of legendary entertainers in hopes of making the no-talent Jean-Marc a rival for Amanda's affections.

You can imagine how that turns out (happy ending!), but arguably the best part of Let's Make Love! is the scenes with the legendary performers.  Milton Berle, Bing Crosby, and Gene Kelly all play themselves, recruited to make the hapless Jean-Marc seem like a funny song-and-dance-man, with amusing results (Berle basically steals the movie during his segment).  And I will admit I actually liked the score for the film, even though it's not as memorable as it might have been.  The Oscar nomination may have been something of a gimme given the film's high profile (we were entering a period where musicals struggled to gain traction with audiences), but Vaughan can sing, and he-and-Monroe have a gay sort of chemistry that is fun-to-watch.

This is not true for Monroe & Montand.  While Montand generally was a popular figure in the era, his comedy bits don't age well and he's stiff in a lead role that would have been a better fit for someone like Cary Grant or Rock Hudson.  Montand isn't helped by a script that has no punch.  The joke bits aren't that funny (Berle & his segment are the only ones that really work), and while Monroe is enjoyable in her part (George Cukor would never totally fail his leading actress), the script is just sort of there for us to ogle her.  One of the striking things between the sex symbols of the 1930's/40's and the 1950's is that while Jean Harlow and Rita Hayworth were given different types of roles to excel in, Monroe always played some version of this Amanda.  When it was in Some Like It Hot, with great writing and costars like Jack Lemmon, it's glorious.  Let's Make Love!, though, is pretty disposable and wouldn't be thought of at all today except it was Marilyn's penultimate film.

The movie had no good memories for any involved.  Monroe hated the part, considering it her worst role, and not soon after watched her marriage to Arthur Miller dissolved (she had had a very public affair on-set with Montand, who was married to Monroe's friend Simone Signoret at the time).  The film was moderately successful, but considered a disappointment given Monroe's star power and how gossip columns had been swirling about her relationship with Montand.  After three rough productions, Monroe was still famous and bankable enough to demand headlines, but producers were worried about hiring her for anything.  She lost out at the time on the role of Holly Golightly in Breakfast at Tiffany's, a part that was written specifically for her by Truman Capote, and which would win Audrey Hepburn an honor Monroe never received: an Oscar nomination for Best Actress. Instead, Monroe would make a different film, one that would sadly be her last, and one that we'll discuss next week.

Saturday, June 13, 2020

OVP: Bus Stop (1956)

Film: Bus Stop (1956)
Stars: Marilyn Monroe, Don Murray, Arthur O'Connell, Betty Field, Eileen Heckart, Hope Lange
Director: Joshua Logan
Oscar History: 1 nomination (Best Supporting Actor-Don Murray)
Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2020 Saturdays with the Stars series, we highlight a different actress known as an iconic "film sex symbol."  This month, our focus is on Marilyn Monroe-click here to learn more about Ms. Monroe (and why I picked her), and click here for other Saturdays with the Stars articles.


After Monroe's massive success with The Seven Year Itch, she started a very public feud with her studio, Fox, publicly trying to demand more power and money in exchange for the clear value she was bringing to the studio.  Though initially rebuffed by the press, Monroe won the standoff, and was one of the key contributors to taking down the studio system with a then unheard-of deal: Monroe signed a seven-year contract with Fox, and would through that only make four films for the studio, with near complete creative control (she'd get to pick the projects, directors, and cinematographers).  More groundbreaking was the fact that she would get to make movies not at Fox of her own choosing, and would get to produce them as well.  Fox did this because they were in need of Monroe-with the decline of Betty Grable a few years earlier, she was by-far the most important actress on the lot, and was too valuable to deny, even if her demands were high.  Monroe's first film for Fox after the standoff was a bit risky on-paper: a drama, albeit a lighter one, which would be the most challenging acting role of her career to-date.  However, as we'll see, Bus Stop benefited both Monroe and the studio in 1956.

(Spoilers Ahead) The film is about Beau (Murray), a young man from the backwoods of Montana, who is an excellent cowboy, but has no social graces, and has no experience with girls (it is heavily underlined throughout the film that he is a virgin).  He and his father-figure friend Virgil (O'Connell) go down to Phoenix for a rodeo, and once there, they meet Cherie (Monroe), a girl who sings (badly) at a saloon, and is basically there to swindle men into buying her drinks.  Beau doesn't see Cherie the way that the rest of the world does, thinking her an "angel" rather than a washed-up saloon girl who has had "experience" with other men.  He proclaims they are going to get married, to her chagrin, and we proceed to see his courtship of her.  Eventually, he learns he cannot take her by force, and that it's time for him to grow up, but at that exact moment, Cherie has a change-of-heart, and ends up going off into Montana with him, with Virgil abandoning the two of them, knowing that his time as caretaker for his friend is done.

With the perspective of hindsight, Bus Stop is, well, an odd movie.  Monroe is a weird fit for straight drama, and as a result the film doesn't always play as seriously as it should have (it was even submitted at the Golden Globes as a comedy).  Some have said that Monroe borrowed her accent and line readings from watching Kim Stanley originate the role of Cherie on Broadway, but if that's the case than Stanley also had an odd inflection, because while the accent work is fine, it's hard to tell what Cherie is thinking most of the movie.  She wanders back-and-forth between being curious about Beau and then repulsed by him, but there's no indication as to why she loves him.  In the hands of a different actress (say, Elizabeth Taylor), she might have underscored the reason that she finds him attractive is that he wants to see the real girl everyone else assumes isn't there, but that's not what Monroe gives us, and it's not really what's coming from Murray, either.  Murray is undoubtedly a lead performer here, and does a better job in finding consistency to his Beau, but without a better script, Murray as written is such a louse you don't want him to end up with Marilyn.  He's devastatingly handsome (one of the rare times that Monroe was cast opposite someone that might conceivably rival her own sex appeal), but Beau is a one-note jerk, someone who gets by because he's too stupid and too naive to be mad at for long, as he basically kidnaps Cherie two-thirds of the way through the movie, and doesn't nearly pay for it enough.  Murray's performance works in parts because he so fully-commits, but neither he nor the script can figure out exactly why Cherie is better off with Beau or why Beau should be rooted for by the audience other than "it's better than keeping her in the saloon," and, well, that's kind of a terrible answer.

But that didn't matter for Monroe.  This film gave her serious acclaim in a way that she'd never experienced before, and to some degree, would never experience again.  She was nominated for a Golden Globe award for the film, and though she didn't get an Oscar nomination, Murray did and Logan was cited by the DGA.  Bus Stop proved to critics that Monroe might be a serious actress to consider (my opinion was in the minority that she feels a bit over-her-head), and it also came with a massive pile of cash.  The movie was a huge hit for Fox, proving that the studio had been correct to sign Monroe to such an unusual contract, and it proved that Monroe understood her fans enough to take a risk that would pay off.

Saturday, June 06, 2020

The Seven Year Itch (1955)

Film: The Seven Year Itch (1955)
Stars: Marilyn Monroe, Tom Ewell, Evelyn Keyes, Sonny Tufts
Director: Billy Wilder
Oscar History: Wilder scored with the DGA and Ewell won Best Actor at the Globes, but the film surprisingly got no traction when it came to Oscar, even though AMPAS was getting creative with both of those categories.
Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2020 Saturdays with the Stars series, we highlight a different actress known as an iconic "film sex symbol."  This month, our focus is on Marilyn Monroe-click here to learn more about Ms. Monroe (and why I picked her), and click here for other Saturdays with the Stars articles.


Normally when we tackle a film from an actor's career on "Saturdays with the Stars" we have picked one from very early in her career to start things out.  It gives us a sense of either a very early breakout performance that led to her stardom, or in some cases, we pick the role that made them a star.  However, with Marilyn Monroe, we're not doing that.  This is in part because I have a rule where I don't watch movies for this project I haven't already seen as I want to experience this along with you, and I've seen most of the early work of Marilyn Monroe's that is worthy of note.  While with an actress of Monroe's stature every film is kind of famous, the big roles early in her career were All About Eve, Gentleman Prefer Blondes, and How to Marry a Millionaire, all of which I've seen.  Technically I could have done Niagara or maybe a supporting role in The Asphalt Jungle, but instead I want to start with where Marilyn the "unprecedented" began, in The Seven Year Itch.  By this time, Monroe was a major, major celebrity, married to star Yankees player Joe DiMaggio & so famous that she'd be self-referenced in this movie (Ewell has a toss-away line about "wanting Marilyn Monroe" in his apartment).  This features arguably the most iconic cinematic moment of Monroe's career in pictures, and indeed in all of the movies, with her skirt being blown up by a subway air vent.  As a result, Seven Year Itch is when Monroe begins to be intertwined with her own iconography, and considering the next three pictures we'll be watching intermingle Monroe-the-Actress with Monroe-the-Icon, Itch ended up being a smarter jumping off point for our month dedicated to the blonde bombshell.


(Spoilers Ahead) The strange thing about Seven Year Itch considering it's inextricably linked to Monroe is that she's not the main character, even though she's a co-lead.  That distinction belongs to Richard Sherman (Ewell), a publishing executive who is going through something of a midlife crisis during his seventh year of marriage.  His wife Helen (Keyes) is out of town on a summer vacation, and he's stuck in the city working, and it's heavily implied, ready-for-an-affair (as is the wont of many other men, according to our narrator).  Richard will oftentimes have imaginary conversations with his wife, where obviously he's playing both sides, where he'll try to convince her that he's a wolf and a playboy, but she knows better that he's a devoted husband, someone that might look but will never touch.

Then along comes "The Girl" (Monroe), a character that fulfills every male fantasy to the point where she doesn't even get a name.  Monroe is there in the height of her sexuality and glamour, a nice girl who doesn't always understand the effect she has on men (but you get the hint does a little as the movie progresses, considering she gets everything she wants from Richard without actually having to give him much more than her time).  Richard throws himself at her, thinking this is his big chance to have an affair, but he's not a playboy, but instead a hapless publishing executive who is deep-down devoted to his wife.  The film ends with The Girl getting access to Richard's apartment for the summer as he runs to vacation to beg for forgiveness from his wife...for indiscretions he couldn't figure out how to commit.

The Seven Year Itch does not age well.  The sexual politics on-hand here are pretty gross.  Monroe's character being reduced entirely to her body is something honestly that I was expecting to see earlier in our series about sex symbols, and had been pleasantly surprised hadn't been a thing so far, but it's clearly here now.  Richard is a cad and a louse, and he's also kind of a loser.  The sort of man who only imagines himself to be great, but never had any gumption to follow-through with that greatness. In a way Wilder's script is mocking the men of the audience-in reality, you don't, in fact, have a chance with Marilyn Monroe no matter what you imagine in your spare time-but then he reduces Monroe's character to nothing more than something to be ogled.

Monroe does her best with this role, and is fun in it, but nothing more than that.  Monroe's biggest gifts were in comedy, and she certainly can land a punchline (with Wilder penning, you know there are several), but this role doesn't give her enough to do, and it frequently feels like she's playing herself.  The famed subway scene is intriguing, but you learn pretty quickly that the iconic shot of Monroe's skirt going up is from production stills-they don't actually show her legs in the movie, just Ewell's reaction to obviously being able to see them.  The film feels like a staged play in the worst way, and its sexual politics are hard to get past, particularly since Monroe is so magnetic, and relegated to the sidelines so often.  All-in-all, this reeks of a movie that wanted to use someone's star power, but didn't know how to harness it to make their picture great.

Monday, June 01, 2020

Saturdays with the Stars: Marilyn Monroe

Each month of 2020 we will be looking at the movies of some of Hollywood's most famous sex symbols, women whose intense beauty frequently overshadowed their filmic careers.  Last month, our focus was on Lana Turner, an actress whose personal life frequently outshone a film career that spanned decades.  This month, we will turn to the ultimate Hollywood sex symbol, the woman who has become synonymous with the phrase, and who is perhaps the textbook definition of an actress whose personal life and celebrity mystique have overshadowed the actual movies that made her a household name.  Yes, this month, our star is Marilyn Monroe.

Marilyn Monroe was born Norma Jean Mortensen (the Baker came later)...but you already knew that.  Unlike virtually every other actress we've profiled in either season of this series, Monroe is so famous that even her origin story is the stuff of legend, from her early days as a pin-up model to the nude expose for Playboy that threatened her career.  So well-known is Monroe that I almost didn't include her in this series, as I view the entire concept of "Saturdays with the Stars" to be about discovery, and Marilyn is an actress that everyone knows & whose story is told perpetually.

But it's her movies that intrigue me, and those honestly don't get enough discussion.  Monroe was a contract star for 20th Century Fox, and for the first few years of her time with the studio, she had successful but not really outstanding roles.  She made All About Eve and The Asphalt Jungle, two undisputed classics, but she was in small parts in both films, and it's Bette Davis & Sterling Hayden you remember more from these movies.  Monroe didn't start having major success on the big screen until 1953, when Niagara, Gentlemen Prefer Blondes, and How to Marry a Millionaire brought her huge box office & top billing, and enough star goodwill that she would make movies almost annually for the rest of her life.

It is this Marilyn that we're going to look at this month-the Marilyn Monroe that was seen on big screens, not in interviews or photos or celebrity marriages or ultimately in utter tragedy when she died of a probable suicide at the age of 36.  I have seen a lot of the major Monroe pictures (All About Eve, Gentlemen Prefer Blondes, There's No Business Like Show Business, and Some Like It Hot, among others), but I have enough of her signature roles still left unseen that we'll be able to take a proper look at the star, the woman behind the legend.  This month, we'll look not at the quintessential blonde nor the Norma Jean Baker who created her, but at "Marilyn Monroe...Actress."

Saturday, February 29, 2020

OVP: How to Marry a Millionaire (1953)

Film: How to Marry a Millionaire (1953)
Stars: Betty Grable, Marilyn Monroe, Lauren Bacall, Rory Calhoun, William Powell
Director: Jean Negulesco
Oscar History: 1 nominaton (Best Costume Design)
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2020 Saturdays with the Stars series, we highlight a different actress known as an iconic "film sex symbol."  This month, our focus is on Betty Grable-click here to learn more about Ms. Grable (and why I picked her), and click here for other Saturdays with the Stars articles.

Despite having been a major star for over ten years, even in the early 1950's, Betty Grable's pictures were still hits.  She had been in the Top 10 biggest box office draws of every year since 1942, and in 1950, despite a relatively ripe age of 34 (which was a bigger deal in the '50's than it would be now), she was still the highest-grossing actress in America.  However, her star started to fall apart when she demanded that Fox acknowledge that she'd been a consistent draw by requesting more artistic freedom and a giant paycheck.  This led to Grable missing out on a big opportunity-Fox's Gentlemen Prefer Blondes, which was a huge hit and gave a boost to the woman that was expected to succeed Grable as the top actress on the Fox lot, Marilyn Monroe.  Grable eventually came back to Fox, but they had a bit of a punishment for her in their next picture-casting her as a gold-digger opposite Monroe and Lauren Bacall, both of whom were a decade younger than Grable.

(Spoilers Ahead) How to Marry a Millionaire is a pretty slight film, and one that focuses on three women looking to get rich husbands: scheming Schatze (Bacall), naive Loco (Grable), and ditzy Pola (Monroe).  The three find a posh Manhattan apartment, and start selling off furniture in the hopes of finding a rich husband, but one-by-one they fall not for the actual millionaires like William Powell's JD Hanley, but instead for lumberjacks or criminals, or in Schatze's (the character most determined to stick to the plan) case, Tom, a man she assumes to be a grocery store clerk but who is instead wealthier than any of the men they pursue.  All of the women end up marrying for love, and in Schatze's case, accidentally it comes along with $200 million.

The film is not, unfortunately, Gentlemen Prefer Blondes, a picture I adored.  It's considerably drier, with only the three leading ladies adding anything to these happenings (Powell is a bore, which is a damned shame coming from the guy who made The Thin Man and My Man Godfrey so bubbly).  It's still fun, of course.  Bacall is ballsy (and gets a great joke about the "old guy in The African Queen" at one point), and Monroe is always fun to watch, and even Grable gets to have some game moments with a man who is looking to have an affair, but there's not enough laughs here.  We don't really get a sense for who these women are other than cartoons, and there aren't memorable musical numbers or someone who is as willing as Jane Russell is to commit to the cartoons the women are asked to play.

Grable's month, as a result, ends with a movie with some promise but ultimately a picture that flirts with a 2-star rating even if it's more a questionable three.  I'll admit to not finding much in Grable's extensive filmography this month to lend to her, disappointing after the joys of Jean Harlow in January.  Grable's career quickly petered out after this, the last significant picture of her time in Hollywood.  After Millionaire she turned down another role that would go to Monroe (There's No Business Like Show Business), something she was fine with; despite press at the time, Monroe & Grable got along famously, to the point where Grable requested her for what would be her last film How to Be Very, Very Popular (the Monroe part would go to Sheree North).  Grable would be turned down for the lead role in 1956's Guys and Dolls, making her quit the industry, and then became a headliner in Vegas until her death in 1973 of lung cancer at the age of 56.  Next month, we will move to a different star of the 1940's who would also find herself in the 1950's looking to Las Vegas, but not before having one of the most eclectic (and unfair) careers of any star in Classic Hollywood.

Thursday, October 31, 2019

12 More Famous Unsolved Holllywood Deaths

It is Halloween, and I had every intention this month of doing another mini-series devoted to something spooky (and film-connected), but alas time got away from me and I will probably pocket the idea until next year.  But I don't want to leave you hanging, so I'm going to be talking about something else sinister, and conclude a trilogy of articles we started way back in April: our look at some of the most famous of unsolved Hollywood murders.

If you're behind please check out the first two installments in this series here and here, as they're definitely up your alley if you're interested in either Hollywood or true crime (or both!).  I could arguably continue this series indefinitely, as there's countless crimes in the Los Angeles area that would have connections to the movies, but I feel a trilogy is the best way to sum this up.  Starting to look at whom or what I might include in a fourth article, I realized we were getting more just into local crimes, rather than finding a proper Hollywood connection, and as this is a film blog rather than one associated with crime articles exclusively, I figured it would be appropriate to finish this series in three acts.

Since this is our finale on Hollywood homicides, we're going to get to eight crimes that I think are lesser-known, but fascinating.  They involve an Oscar-winning actress who (might) have had some connection with her husband's death, an Oscar-winning actor who (might) have killed a comedy pioneer, and the strange death of an Oscar-winning actor who (might) have been killed on the orders of a dictator; we'll also look at a death of a famous adult film star who almost certainly wasn't murdered, but whose whereabouts (and questions around whether she's alive or dead) are too bizarre not to discuss.  And since this is the final installment in our series, I'm going to acquiesce and include in the article four of Hollywood's most famous deaths, all of whom have inspired conspiracy theories for years, and we'll discuss why I don't entirely buy them (even if the deaths might have some intriguing unanswered questions).  As I mentioned in our past installments, this obviously involves some heavy subject matter, so if you're light-of-heart I suggest you read at your own risk.

Nick Adams

The Hollywood Connection: Adams was a bit player in Hollywood that stayed on the periphery of fame while never become as iconic as some of his costars.  Among his best-known work is The Rebel, an ABC western that ran for two seasons & Twilight of Honor, where he plays an alleged killer obsessed with Joey Heatherton.  Twilight won him an Oscar nomination, but Adams is best remembered today for his friendships with (and rumored romances with) two 1950's superstars: James Dean & Elvis Presley.
The Murder(?): On February 7, 1968, Adams was found dead by his attorney Ervin Roeder at his home in Beverly Hills.  Well-known coroner Thomas Noguchi (he'd also perform the autopsies on Marilyn Monroe, Sharon Tate, & Natalie Wood) performed the autopsy, and said Adams died of "accident/suicide/unknown" due to excessive amounts of sedatives and drugs in Adams's system.
Why It's Unsolved: Occam's razor dictates that Adams killed himself or accidentally overdosed on drugs.  This seems to be what Noguchi discovered in his medical reports, and is backed up by actress Susan Strasberg (who saw Adams the night he died) who said he was despondent over his failing career and marriage.  However, rumors persist to this day that Adams death was more nefarious.  There was gossip at the time that Adams was going to write a tell-all (his career was going nowhere, so a tell-all would have been a source of cash for a work-strapped actor), and considering his potential romantic entanglements with people like Presley & Dean (never mind any other better-kept secrets), there would have been a considerable amount of sway to keep his knowledge of Hollywood's closeted community a secret...potentially at all costs.


Arthur Farnsworth

The Hollywood Connection: Farnsworth himself had no connection to Hollywood-he had been just a normal New Hampshire innkeeper before his death.  However his wife happened to be one of the most famous women in the world when they married: screen legend & two-time Oscar winner Bette Davis.  Farnsworth was Davis's second husband, and her only marriage that didn't end in divorce, though it may have ended in something more nefarious: murder.
The Murder(?): Farnsworth died on August 25, 1943.  Initial reports at the time were that he had died of a brain hemorrhage, possibly as a result of falling on the sidewalk on Hollywood Boulevard.  However, after Farnsworth died, Davis was questioned by police about whether or not an accident had occurred earlier involving Farnsworth.
Why It's Unsolved: Despite initial media accounts at the time (including in the LA Times), stating that Farnsworth died as a result of falling on the sidewalk on Hollywood Boulevard, it's probable that Farnsworth died as a result of an accident he'd sustained a few weeks earlier, when he had fallen down a flight of stairs in the couple's New Hampshire home.  Davis at the time claimed that Farnsworth had fallen when he rushed too quickly to answer the phone, but there are some who believe that Davis and Farnsworth had been fighting at the time, and that Davis during the fight had pushed Farnsworth down the stairs, ultimately leading to his death.  It does seem odd, especially considering initial reports about the Hollywood Boulevard incident (where Davis was not in attendance) that Davis was questioned by police investigators at all in the inquest of Farnsworth's death if they had assumed it was simply a brain hemorrhage caused by an accident.  It's worth noting that 16 years later Joan Crawford, Davis's longtime rival, also had a husband (Alfred Steele) who may have died as a result of being pushed down a flight of stairs, though those allegations from from her daughter Christina Crawford, whose stories about her mother have varied through the years, and as a result have a question of credibility.

Sean Flynn

The Hollywood Connection: Flynn briefly worked as an actor and singer in the early 1960's.  He had a small role in Where the Boys Are opposite George Hamilton, and made a number of films in Europe, most notably The Son of Captain Blood, a sequel to a film his father, actor Errol Flynn, made into a smash hit for Warner Brothers in the mid-1930's.
The Murder(?): By the late 1960's, Flynn's acting career was going nowhere, and it seemed like his passion was more for photojournalism than entertainment anyway.  He was gaining fame as a war correspondent in both Vietnam and Israel.  On April 6, 1970, Flynn and CBS News photojournalist Dana Stone were headed out on intel that the Viet Cong were manning a checkpoint on Highway 1.  The two were never seen again.
Why It's Unsolved: Flynn and Stone were likely two of 25 journalists that were captured during the initial invasion of Cambodia by Richard Nixon in 1970; but according to people who were there that day like AP correspondent Jeff Williams, there's even some speculation over whether or not they were even captured.  Several of the 25 journalists were executed by the Khmer Rouge, but there has never been any evidence as to whether or not Flynn & Stone were killed, arguably the most well-known figures to disappear at the time (but by no means the only ones).  Journalist Tim Page, who was Flynn's roommate (and the inspiration for Dennis Hopper's character in Apocalypse Now!) is still searching for Flynn's remains, with frequent and constant trips to Cambodia.  In 2010, a body was found, but members of the Flynn family (including Sean's sister Rory) were tested and the DNA was not a match, so it's still not known what happened to Sean Flynn, how he was killed, or even if he's dead at all.

Ted Healy

The Hollywood Connection: Healy enjoyed a long career as a comedian and vaudeville performer, but he is best remembered for creating the Three Stooges.  He starred with them in the film Soup to Nuts, but after a contract dispute, Healy abandoned the comedy group, and signed a contract for MGM, where he worked alongside Spencer Tracy, Robert Young, and Peter Lorre before his death.
The Murder: On December 21, 1937, Healy died while out celebrating the birth of his son, the only child he'd ever have.  Official reports at the time were that he died of acute nephritis, triggered by his chronic alcoholism, but a lot of questions surround Healy's death and the events that happened immediately before he died, enough so that over 70 years after his passing, some still wonder if he was the victim of something more sinister.
Why It's Unsolved: According to reports at the time, Healy had been in a fight the night of his death, and had injuries on his face, including a cut near his right eye.  Reports were that Healy had been in a fight with some men at the Trocadero, then a well-known Los Angeles night club.  These reports were initially that Healy had fought with three anonymous younger men, but later reports indicated far more famous individuals had fought with Healy: Oscar-winning actor Wallace Beery, producer Albert Broccoli, and Broccoli's cousin, another film producer Pat DiCicco (whom you may remember for his connection to another well-known unsolved Hollywood crime, the death of actress Thelma Todd).  Enough questions surrounded Healy's death that his personal physician refused to sign the death certificate, and if you believe Hollywood lore, MGM fixer Eddie Mannix covered up the incident (Beery was under a star contract to the studio at the time) to save face for one of their leading men.  While Beery & DiCicco have never confessed to seeing Healy that evening, Broccoli has-he admitted to being at the Trocadero, and that he fought with Healy but denied it being particularly aggressive.  If Healy's death was in fact triggered by the fight, rather than his chronic alcoholism, it's entirely possible one of these three men were responsible for his death.


Christa Helm

The Hollywood Connection: Helm was a bit player in Hollywood, making guest spots on shows like Starsky & Hutch and Wonder Woman.  However, her offscreen life reads like a who's who of Hollywood elite; among her paramours were Mick Jagger and Warren Beatty, as well as famous (non-movie star figures) like the Shah of Iran.
The Murder: Helm died on February 12, 1977 at the age of just 27.  She had been stabbed and bludgeoned to death outside of her agent's home in West Hollywood.  Actor Jon Gries, then just 19, lived nearby, and later described hearing a noise coming from near where Helm was being murdered similar to "a screaming baby or a cat being killed," but frightened, he didn't call the police or go to investigate.
Why It's Unsolved: At the time, the press were more enamored with the connections between Helm and another Hollywood murder, that of Sal Mineo exactly one year prior to Helm's (at the time, Mineo's murder was still unsolved).  However, the press soon lost interest in the Mineo angle, and focus then turned onto the most salacious & mysterious aspect of Christa Helm's death: her sex diary.  Helm, who as we already stated had a number of famous lovers, had kept a sex diary and a collection of sex tapes that were not found after her death.  Police have alleged that Tony Sirico (the actor who played Paulie Walnuts on The Sopranos), then a small-time criminal, was hired by someone to remove the tapes, either to protect Helm or to protect someone who would be implicated in the diaries/videos.  Suspects in the killing range from Sirico to Helm's agent Sandy Smith to drug dealer Rudy Mazella (with whom Helm was allegedly involved romantically) to another lover, backup singer Patti Collins (DNA evidence under Helm's fingernails from the night of the murder came from a woman) to even Lionel Williams, the man who murdered Sal Mineo (it seems that initial rumors that Williams was arrested at the time of Helm's murder were inaccurate, and so the alibi that is allotted to him on some articles about Helm's death isn't real), but no one has ever conclusively proven who killed Christa Helm, despite decades of investigation.

Bruce Lee

The Hollywood Connection: Lee is noted as a major star of martial arts films of the 1970's, including the landmark Enter the Dragon.  In Hollywood, he didn't make his mark before his death, though he did have a role on the ABC comic book series The Green Hornet as Kato.
The Murder(?): Lee died on July 20, 1973, officially of a cerebral edema at the age of only 32.  He had had dinner earlier that evening with actor George Lazenby, and after dinner Lee had complained of a headache.  He was given a painkiller (Equagesic), and according to doctor's later, had something of an allergic reaction to the drug, causing the cerebral edema, which killed him.
Why It's Unsolved: On the facts, this is how Lee died.  Just a few months earlier he'd suffered another cerebral edema while on the set of Enter the Dragon, and so there was clearly a medical history here that would indicate this was an unfortunate accident involving a man who already had health problems.  But in the decades since, rumors have persisted that Lee was murdered, though the culprit depends on whom you ask.  Some think that his business partner Raymond Chow did it (Chow did see Lee the day he died, for what it's worth), while other think it was actress Betty Ging Pei, with many positing that Lee was having an affair with her.  Others have blamed gangs like the Chinese Triads, upset that Lee was sharing long-held martial arts secrets.  These all seem fanciful to me, particularly since Lee clearly had a medical history that would support his tragic death at such a young age.  But it's impossible to read about Lee, particularly after the equally tragic death of his son Brandon on the film set of The Crow, without someone bringing up his death as "mysterious," so I include this because no list of "unusual" Hollywood deaths would be complete without Bruce Lee.


Jenny Maxwell

The Hollywood Connection: Maxwell is best-remembered today for her small but memorable role in the Elvis Presley musical Blue Hawaii.  She also starred with Jimmy Stewart in Take Her, She's Mine, and had guest appearances on Father Knows Best, The Twilight Zone, and The Joey Bishop Show.  Maxwell's celebrity never took off, and she retired from the movies in 1963, essentially become a "trophy wife" to the much older Ervin Roeder, a wealthy attorney.
The Murder: On the afternoon of June 10, 1981, Maxwell and Roeder were shot in their Beverly Hills condo.  Police at the time assumed it was a botched robbery, with the young actress dead at the age of only 39.
Why It's Unsolved: Little is known about the crime, probably because there's not much evidence to indicate that Maxwell or Roeder were specifically targeted by someone they know.  Most people assumed that the murders were part of an apparent robbery, but that's speculation-based on newspaper reports of the time and according to articles afterward, there doesn't appear to be any indication that anything was actually taken from the home.  What is worth noting, in the confines of this article, is that Roeder also had another very famous client at one point, Nick Adams, so both men ended up dying in unusual circumstances.

Marilyn Monroe

The Hollywood Connection: Forgetting the fact that she starred in films like All About Eve, Bus Stop, Some Like It Hot, and The Misfits, Monroe essentially is Hollywood at this point, her visage being on everything from slot machines to doormats.  More than pretty much any other star, she encompasses a type of glamour that is synonymous with the Golden Era.
The Murder(?): Monroe died on August 4, 1962, at her Brentwood mansion.  She was found dead by her housekeeper Eunice Murray and psychiatrist Ralph Greenson the following die, and the coroner's report eventually stated that she had died of acute barbiturate poisoning, with the coroner ruling her death a suicide.
Why It's Unsolved: Marilyn Monroe probably committed suicide.  It's the most likely scenario, and considering the troubled life the starlet had led, one with a good deal of credibility.  But Monroe was SO famous, it's hard for anyone to imagine her taking her own life, and so it's worth noting that conspiracy theories abound about her death, so since we're closing out this series about Hollywood True Crime, I couldn't ignore the most famous "what happened?" death in Hollywood history.  The most common conspiracies center around Monroe's relationships with John & Robert Kennedy, who were President and Attorney General, respectively, when Monroe died, and legend has it that both had a sexual relationship with Monroe at some point.  Allegations that Bobby Kennedy in particular either used his connections at the CIA/FBI to have Monroe assassinated, or that someone murdered Monroe to get to the Kennedy Brothers have been rumored for decades, being shared by everyone from Norman Mailer to British journalist Anthony Summers.  While there is enough smoke there to assume that an affair with at least one Kennedy brother probably occurred, the legend of Monroe potentially being murdered (a fate that would eventually befall both brothers) continues to persist nearly sixty years after her death.


Haing Ngor

The Hollywood Connection: A former doctor who survived for years in Cambodian prison camps, Ngor made his film debut portraying journalist Dith Pran in 1984's The Killing Fields, which won him the Academy Award for Best Supporting Actor, with him beating longtime thespians like John Malkovich and Ralph Richardson for the trophy.
The Murder: Ngor was shot to death on February 25, 1996, in Los Angeles near his home in Chinatown.  According to prosecutors, three men held him at gunpoint and after he gave them his gold Rolex, they murdered him because he wouldn't give them a locket which held a photo of his deceased wife.
Why It's Unsolved: In some ways, it's not-unlike every other crime on this list, we actually have a conviction and know who killed Haing Ngor, as the three men who shot him (Tak Sun Tan, Jason Chan, & Indra Lim) were convicted and are currently serving their sentences for his murder.  However, there are enough strange questions around Ngor's death to include him on an "unsolved" list, namely as to why he might have been murdered seemingly at random.  For starters, Ngor still had nearly $3000 on him after his death, making a robbery by the three men seem at the very least very poorly executed.  Ngor also didn't typically have the locket visible (he usually wore it under his clothes), so how did the men, who claimed they didn't know who he was, know that he would be wearing it & demand he give it to them?  Some have speculated that Ngor was killed on Pol Pot's orders for his involvement in the film The Killing Fields, a theory posited by former Khmer Rouge leader (and, it should be remembered, war criminal) Kang Kek Iew.  It seems a stretch that Pol Pot, who was still alive when Ngor died and was still ordering executions (in 1997 he ordered the murders of his associate and his entire family), might want to kill a man who had been in a movie critical of him twelve years prior, but considering the questions surrounding Ngor's death, it's worth wondering.

Nicole Brown Simpson & Ronald Goldman

The Hollywood Connection: As if I need to tell you this, but it's not Nicole Brown Simpson or Ronald Goldman who had the connection to Hollywood, but instead Brown Simpson's ex-husband OJ, who would go from being a Heisman Trophy winner to star Buffalo Bills running-back to one of the more successful athlete-actor crossover stars, appearing in movies/television as varied as The Towering Inferno, Roots, Capricorn One, and The Naked Gun franchise.
The Murder: On June 12, 1994, Brown Simpson and Goldman were stabbed to death outside of her home in Brentwood.  Both individuals had been stabbed repeatedly, with Brown Simpson nearly decapitated from the homicide, and Goldman's cut shoes indicating he had tried (but failed) to overcome his assailant.  Over 25 years later, no one has ever been convicted of their deaths, and the case remains officially unsolved.
Why It's Unsolved: I avoided talking about Marilyn Monroe, Bruce Lee, and Johnny Stompanato because I feel that the most-likely answer to these questions is that they're solved, with the former two having died tragically but not as the result of homicide, and the latter dying in an act of self-defense.  Nicole Brown Simpson & Ron Goldman, though, were definitely murdered, but I have kept their murders out of previous installments because this is a case (if you lived through it) you know by heart.  In many ways this was the birth-place of the 24-hour news cycle as something to be mocked, constant discussions of the crimes dominating cable news in a harbinger of things to come.  For those who have lived under a rock or are under thirty, the question of what happened to these two boils down to if you believe OJ Simpson murdered his ex-wife and her friend (and potential lover).  Simpson was headed to Chicago the night of the crime, but his limousine driver claimed that he couldn't get ahold of Simpson right away, and that while he was waiting for the football player Simpson's Ford Bronco had moved (thus affording Simpson opportunity to commit the crimes).  Simpson had a history of abuse toward his ex-wife, and had claimed that he'd "thought about killing her" in the past, but he was not convicted after an extensive trial (I could devote an article this length just to the Simpson case, but you can find a hundred books on it if you wish to learn more).  Jurors on the trial claimed afterward that they thought Simpson had been involved in the murders, but that the prosecution had failed in making their case.  Public perception in the years since has favored the idea that Simpson got away with his wife's murder, particularly after the release of the book If I Did It, where Simpson posited how he might have killed his ex-wife, but double jeopardy is in place even if he did kill the two individuals.  Simpson would go on to be charged with armed robbery, serving a ten-year sentence, and would continue to maintain his innocence, as would a number of others (the most common alternate theory being that Brown Simpson & Goldman were connected to a drug trafficking crime that also was connected to the death of Michael Nigg, whose murder we looked at in Part 2 of this series).  Whatever your beliefs, the deaths of Brown Simpson & Goldman stand as one of the most discussed crimes in Hollywood history, and remain (officially) unsolved.


Johnny Stompanato

The Hollywood Connection: Stompanato had very little himself to do with Hollywood, as he was a former Marine who was part of Mickey Cohen's crime syndicate when he died.  However, in 1957, Stompanato began a relationship with one of the biggest stars in Hollywood, Lana Turner.  Turner, at this point in her career, had been a major player in Hollywood for 15 years, having starred in movies such as The Postman Always Rings Twice, The Bad and the Beautiful, and Peyton Place.
The Murder: Leading up to the night of the Academy Awards in 1958, Stompanato's behavior toward Turner had turned extremely violent, with him choking her.  At the Oscar ceremony (where Turner was nominated for Best Actress for her work in Peyton Place), Turner decided to take her daughter Cheryl Crane instead of Stompanato, which caused him to be angry when she returned, and he beat her again.  Eight days later, on April 4, 1958, according to reports at the time, Stompanato was again violently attacking Turner, even threatening to slice up the beautiful actress's face with a razor (which would have ended her career), when Crane stabbed Stompanato through the stomach while he was attacking her mother.
Why It's Unsolved: Here's the thing-it's not.  I wrote up-top that four of these stories I wanted to discuss because they were too big to leave out before we concluded our look at unsolved Hollywood crimes, but the Stompanato case came back with Crane being exonerated, a case of justifiable homicide.  This is the most likely scenario, considering Stompanato's history of abusing Turner, and threatening both she and her daughter with violence.  However, there are those who believe that the crime was premeditated, a way for Turner to get Stompanato out of the picture without having him (who was reportedly blackmailing her with nude photos he'd taken without her consent) expose intimate secrets about her life, thus ruining her career.  There are also those who believe that Crane took the fall for her mother, believing that a teenage girl would be more easily exonerated.  If this is indeed the case, the only person who would know is Cheryl Crane, still alive at 76 and recently married to her longtime partner Joyce.  Despite the bad press at the time (with the skeptics claiming Turner "acted" on the stand), her stardom was back at a high point a year later, when the actress would act in the biggest hit of her career, Imitation of Life.


Bambi Woods

The Hollywood Connection: Woods's connection to Hollywood is not because she was a star or even bit player at a Hollywood studio, but because she came to fame during the 1970's heyday of pornography playing in mainstream cinemas.  Woods starred in one of the era's best-remembered films, Debbie Does Dallas, which would go on to become the best-selling pornographic film of all-time.
The Death(?): As stated above, I wanted to profile one Hollywood disappearance/death that has a lot of questions behind it, but almost certainly didn't end in murder-that would be what happened to Bambi Woods.  Woods completely disappeared from the public eye in the mid-1980's, and her fate has never been revealed.
Why It's Unsolved: It's not entirely clear at this point if Woods (who would be 64) is still alive or not.  According to an Australian newspaper entitled The Age Woods died in 1986 from a drug overdose (they did the article to mark a musical version of the movie Debbie Does Dallas being released).  A later documentary from the British Channel 4 claimed that a private investigator had found the actual Woods, and that she was living an ordinary life in Des Moines, Iowa, under a different name where people didn't know her connections to the porn industry, but this was rebutted by internet site Yes But No But Yes that interviewed a woman claiming to be Woods who was not from Iowa, but said the rest of the story was largely true-that she was living under an assumed name.  Suffice it to say, no one has ever come up with conclusive proof of what happened to Woods or if she's even still alive, and the film's director has never revealed what her real name was.  The mystery surrounding her death is amplified by other nefarious aspects of the film (one of Woods's costars, Arcadia Lake, died of a drug overdose, and the film was produced by mob boss Michael Zaffarano), but even by itself-the fate of Bambi Woods is a really odd mystery that has persisted for over thirty years.

Saturday, June 04, 2016

Everybody's Linking for the Weekend

We're bringing back to the blog an old series that we haven't done in a few months this week in my quest to create a more ideal version of my life (more on that at some point maybe-I'm making a lot of changes in my life, particularly in my attitude toward the word "can't," let's just leave it at that for now), and so I'm excited to announce that we're doing another link roundup, a series of posts from across the web that I found interesting but haven't had a chance to discuss quite yet.  Without further adieu...

In Entertainment...

-By far my favorite article of the week, and in part why I brought back this series, is Boy Culture's ode to Marilyn Monroe at ninety.  The site chronicles ninety things that would have happened had Marilyn Monroe lived through her drug overdose, and they are astonishingly realistic and accurate.  From marrying a gay fan (it would have happened) to randomly getting an Oscar nomination for playing a prostitute (probably losing to Jane Fonda or Glenda Jackson) to endorsing Hillary Clinton (Trump would have surely tweeted something vile about her as a result), it's a wonderful look at what might have been had the quintessential blonde lived to go grey.

-For film fans, there's probably no better news this week than that Paul Thomas Anderson and Daniel Day-Lewis will be reuniting for a film about 1950's fashion.  Honestly, I don't really care what it's about-both of these men have strong track records and ridiculously awful work ethics (if you're trying to think of what movies DDL has made since Lincoln-it's none!), so I will be there with bells on.  The fact that they are teaming up after last making Day-Lewis' iconic Daniel Plainview is just icing.  For the record, if you are interested in that year's Oscar race make sure to be following along with us as we chronicle the many nominations for There Will Be Blood over the next few weeks.

-This is relatively new news, but Michelle Collins has reportedly been axed by The View.  This might seem odd on this site (we don't focus a lot on television), but I actually used to be a HUGE fan of The View, watching it religiously every single day back in the post-Rosie, pre-Jenny McCarthy days (still my favorite quintet of hosts), but that show has become a hot mess, hasn't it?  Honestly, without Walters there to give it an instant boost of gravitas (she's occasionally ridiculous, but she's a pioneer in journalism no matter how many goofy stories she tells about stealing the president's towels or making every hot topic about her own life) the show needs to actually be entertaining, and hiring a bunch of comedians who talk over each other was not the answer (Nicolle Wallace was, especially considering the election season we're about to have, but unfortunately they didn't stick with her).  With Whoopi looking to exit in August, how long will this show even last?

In Politics...

-While I have deeply called into question the journalistic integrity of pretty much every person in the media in the face of their gleeful celebration of everything Donald Trump (can someone press him on a legitimately difficult question-please?-just one interviewer should try to get him to give specifics to one of his foreign policy plans), there are occasional exceptions and one of them is Bill Scher's terrific reminder that the 2000 election bares a lot of similarities to the one we're going through today, namely in the way that people want to run Bernie Sanders as a third party candidate or how moderates think there's "no difference" between Donald Trump or Hillary Clinton.  I know it's hard to believe for younger readers, but they said that exact same thing about George W. Bush and Al Gore.  Yes, the man who started a trillion-dollar war and the man behind An Inconvenient Truth were called identical by many members of the American populace, and that allowed Ralph Nader to spoil the election (you want to disagree-fine, the comments are there, but know that it's an indisputable fact that if Nader hadn't run Al Gore would have been the president).  Keep that in mind the next time you say Hillary and Donald are "the same."


-New York Magazine has a deep, in-depth look at Hillary Clinton that I found fascinating.  Occasionally these types of articles get repetitive and quite frankly a little much for me (everyone's human-what a shocker!), but I think it's different with Clinton in part because she's someone that is so repeatedly attacked for not showing any humanity that to see a journalist go beyond the "her friends say she's great" and actually go a bit more in-depth, particularly from someone who doesn't seem wildly friendly or like a longtime admirer of Clinton's, is impressive.

-Longtime readers of this blog who remember this series will recall I have a penchant for Politico Magazine, and it wouldn't be the new season of this series without a quick look at the weirdly academic branch of the gossip-y Gawker of the political world.  This piece is oddly about one of our most forgettable presidents, Zachary Taylor.  The similarities between our current election and the one of 1848 are severe and intriguing: after all Taylor was a political outsider who ended up winning the nomination despite not really agreeing with a lot of the Whig Party's platform, and he bested an experienced former cabinet secretary and senator.  The fact that he won and that he ended up destroying the party should make Democrats and Republicans alike look up from their morning coffee.

YouTube Video of the Week...

-Okay, since I've slammed Republicans a couple of times this piece, I'll give them a reprieve here and highlight one of their more talented celebrities (in front of the camera-his politics are, well, insane).  Kelsey Grammar tells a wonderful story about how he came to be Sideshow Bob (there's a bizarre thrill watching him actually do the voice):


Shameless Self-Promotion of the Week...

-My thoughts on a Sanders/Stein style ticket (I'm not charitable, if you can only guess).

Just One More...

-Huffington Green has an article about the Coral Reef, and like most environmental news lately, it's not pretty.  Nearly one-third of the Great Barrier Reef, one of the most beautiful places on the planet, has been bleached, possibly permanently.  It's a horrible reminder that while National Security has become an important part of the national electorate, the world is in a bad place in terms of environmentalism and climate change, and voting (and not just for your presidents or prime ministers, but all up-and-down-the-board) with a green thumb is an important way to make yourself heard.  Also, volunteer for an environmental charity (I've started doing that, and it feels great to make a contribution in that way).