Fireball: Carole Lombard and the Mystery of Flight 3

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Clark Gable and Carole Lombard were the darlings of Hollywood when the US entered WWII as a result of the attack on Pearl Harbor in December of 1941.  Lombard, being patriotic and decisive, determined that she and Clark should involve themselves in the war effort.  While her famous husband served as president of the Hollywood Victory Committee, Lombard was engaged to sell bonds in the heartland. On January 12, 1942, she set off for her home state of Indiana and as a true star and rousing presence, she sold two million dollars worth of bonds. Flush with success and anxious to get home to her handsome, and frequently roving husband, she deviated from plan and instead of taking the train insisted upon flying despite the misgivings of traveling companions, mother Elizabeth Peters, and MGM press agent Otto Winkler, a personal friend of Gable’s who had been assigned to accompany her. The fierce persistence and determination that had built her career and led to marriage to two of Hollywood’s most eligible and bankable leading men, ultimately contributed to her death when the plane crashed into the side of Mt. Potosi following take-off in Las Vegas on the last leg of their trip home.  The crash led to national headlines and a dangerous search for survivors, then bodies.  The story of this tragedy, the events leading up to it and its horrific aftermath are related in Fireball: Carole Lombard and the Mystery of Flight 3.

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Author Robert Matzen is an engaging writer and Fireball has an interesting structure. Two threads alternate chapters until they merge midway creating one story that brings significant players to a set point in time, that of the crash itself. Changing tone as it moves between the Hollywood hills and the sturdy landscape of pilots, military servicemen, airline personnel, and the everyday folks with whom they intersect, these two worlds each have their own voice.  This latter thread, grounded in All-American wholesomeness, is by far the strongest of the two in this examination of the crash that took the life of not only Lombard but the other twenty-one people aboard the plane.

Matzen brings experience as a Hollywood historian and author, NASA communications specialist, and documentary filmmaker to this effort; he is uniquely qualified for such an enterprise.  The book starts strong as he relates his account of scaling the mountain and viewing the scattered remnants of the crash that still remain on Mt. Potosi. He accessed TWA’s confidential files, examined the results of two federal investigations and conducted numerous interviews with those personally connected to these ill-fated passengers. His own prior knowledge lends authenticity to aspects of this story, particularly those involving the flight, aeronautics, and the relevant history of air travel.

When residing in the Hollywood realm, Matzen indulges in a bit of salaciousness with these swiftly moving chapters taking on a tabloid tone. At times dated and sexist language is used to presumably set the story within its era.  This is unfortunate as it is unnecessary. The story of Gable and Lombard, her career and their love affair is dynamic and arresting in and of itself; her dramatic sudden death makes it even more so.  There’s also some critical inferences around Hollywood stars.  It is intimidated that Lombard’s first husband William Powell’s self-absorption and emotional withdrawal blinded him to fiancé Jean Harlow’s sinking physical health.  Similarly, it is related that Gable and Lombard resented having to attend the subsequent funeral for MGM’s platinum-coifed ‘baby’, as Harlow was then known, being forced to attend by studio brass. These types of characterizations may not play well with many fans of  the silver screen’s most beloved stars.

One gets the sense too that Matzen doesn’t care much for Gable.  He refers to him repeatedly as the king, as Clark Gable was once named the King of Hollywood in coast-to-coast polling, a moniker that almost seems to take on a mocking tone as the actor goes through the most challenging and heartrending period of his life.  The assessment that he is a self-absorbed narcissist, “doing a lot of taking and little giving”, much like Powell, doesn’t seem to fit with other accounts but certainly a star of that magnitude might have that aspect to his character.  However, it is seems strikingly odd to drive that point home in a chronicle of his greatest heartbreak.  Given that Lombard was at the height of her success, having found  her comedic timing and a marriage to MGM’s top draw, the nation mourned her loss for its own sake but also for Gable’s; many of his contemporaries have related that he was never the same after the tragedy.  He lost a woman he appreciated infinitely after her death, as is human nature, and the nation lost not only a glamorous comedienne but a potential bond-raising powerhouse for the war effort and a patriotic American. Her death was tragic in many respects and underscored the losses already occurring in families across an anxious country.

Fireball consists of much that was already known but succeeds in weaving it into a compelling story.  People on the ground and in the air, those who lost their lives and those who remained behind are each in turn spotlighted.  There’s a richness to this approach.  As readers we are taken back to January 1942, a place, a time, a tragedy.  But there is also a drawback and it is significant: the author has created a novelization of actual events.  While many details, exhaustively researched, are absolutely fact or surely true, other aspects are a bit speculative. Missing information is filled in to facilitate narrative flow. Thoughts of those who die in the crash are shared, despite the fact that they never had an opportunity to relate these inner musings. Gable’s own private thoughts are revealed, personal recollections only he could have known.  As such it is clear there is some speculation involved, informed and educated surely, but nevertheless speculation. This aspect at times made me cautious and as the book progressed  I read with an increasingly skeptical eye. While it is clear that the author has done extensive admirable research, I was uncomfortable with his putting thoughts into the minds of actual people; this is not a historical novel yet frequently reads like one.  While much of this revealing of inner life and shared moments comes from interviews that were published at the time, it remains difficult to know what is based on research as opposed to what might be based  upon “extensive study of the subject”, as the author characterizes his approach to Gable.  Personally, I would’ve preferred an entirely fact-based accounting.

Initially there is some suggestion that this in-depth examination will reveal the true cause for the crash; this is not the case.  However this does not detract from the book as the analysis that examines multiple potential causes is extensive; there were many and as is frequently true, sometimes it’s a congruence of unfortunate circumstances and events that contribute to tragedy.

Despite these misgivings,  I  found Fireball a compelling read, yet was relieved when I finished this one. Those relatively new to the story of Gable and Lombard will find a mini-bio of Carole and a very in-depth look at the crash and its surrounding events.  While I knew a fair amount going in, there was still enough to keep my interest, mostly surrounding the other passengers, personnel and the aftermath at the scene.  Much of that was riveting (at times grisly – be forewarned), and worthwhile.  The book certainly highlights the loss to the screen, her loved ones and the country that occurred with the death of Carole Lombard, the first Hollywood casualty of WWII.

Note: This review is for the Expanded 2017 Edition, published by Goodknight Books

This post is the sixth in the 2017 Summer Reading Challenge hosted by Raquel Stecher of Out of the Past.  For more book reviews by fellow bloggers,  please check with her throughout the summer!! I’ve really enjoyed participating and am definitely convinced that these book reviews can be a lot of fun.  Here’s to cool Autumn nights curled up with a good book 🙂

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Joan Blondell: A Life Between Takes

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Rose Joan Blondell learned many things growing up as a child of vaudeville.  She learned to make friends easily, to fit in, and to adapt to ever changing surroundings and circumstances. She learned how to tend to a crew, learn her lines and enhance the performances of others. She learned to smile on cue and to place the act before everything else.  Most importantly she learned discipline, hard work and perseverance.  The one thing she wasn’t taught was how to value herself, her gifts, and her own feelings.  And that is a lesson lost that cost her much personal happiness.

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Joan Blondell: A Life Between Takes gives us a chronological accounting of the actor’s life.  Beautifully researched, it benefits tremendously from the full cooperation of her surviving relatives, including her children.  It was her son who suggested that such a book be considered.  He approached author Matthew Kennedy as the two were working on another project.  It is a gift that he did so.

As expected the most compelling section is the first third when Blondell is working frantically and furiously at Warner Brothers.  Her swift climb towards being an invaluable player in the studio’s talented stable make for heady reading.  She arrives in Hollywood almost simultaneously with the advent of talking pictures with a young Jimmy Cagney, both fresh off a Broadway play that lands on the screen with the racy title of Sinner’s Holiday.  While compelling in their debuts, Cagney’s magnetism is undeniable.  The studio recognizes their hot property for what he is and quickly places him in starring vehicles with compensation to match.  Cagney achieves this with some savvy and negotiation.  Blondell’s compensation doesn’t achieve his, nor is she given those starring roles; her negotiation skill and representation is weaker and she is frequently used to bolster others’ work or enliven sagging pictures. Nevertheless, her presence in tight, rapid-fire pre-Code films is almost unmatched.  It is only those women that truly reached the upper tier, such as Barbara Stanwyck, a friend of Blondell’s, that have greater presence.  Some of the most memorable films of the era such as Night Nurse, Three on a Match, Blonde Crazy and the Busby Berkley musicals Dames and Gold Diggers of 1933 would be unrecognizable without Blondell’s presence.  The latter’s finale number, Remember My Forgotten Man, with Blondell as its centerpiece, is arguably the most significant musical sequence of the Great Depression.  The actress herself was taken aback by the critical and public response to its social significance.  She was working so fast its impact had eluded her.

In a life filled with contradictions, Blondell frequently referred to herself as a workhorse, many times denigrating her own accomplishments while struggling for the recognition and roles she rightfully deserved.  Toddling onto the stage at fourteen months, she entered vaudeville as a regular in her parent’s act at the age of three.  The Blondell’s travelled the globe, rarely stopping to establish roots, a pattern Blondell found difficult to break. She longed for a house and home yet this was sometimes as elusive as the roles she sought.  When Blondell found personal stability, she used this security to bolster her career, seeking and taking risks that then undermined her domestic happiness. This strategy of zig-zagging from coast to coast, seeking substantial roles, was ill-tolerated by the men in her life who married a people-pleasing petite blonde and somehow ended up with a real woman with needs.  Husbands George Barnes, Dick Powell and Mike Todd ranged from distant and controlling to financially irresponsible and emotionally and physically abusive.  Blondell only achieved marital bliss intermittently and fleetingly.  Professional success similarly had its rich yet transient moments.  Her finances followed her marriages and her performances, rising and falling with their shifting fates.

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As Aunt Sissy in A Tree Grows in Brooklyn, with Peggy Ann Garner

Blondell was nominated for an Academy Award for The Blue Veil, however one of her most memorable performances of her post-Warner years was that of Aunt Sissy in Elia Kazan’s adaptation of the best-selling novel A Tree Grows in Brooklyn.  It was her favorite role. Yet some of her best moments were left on the cutting room floor due to their adult nature and the restrictions of the Production Code, an editorial necessity she found upsetting.  If she is remembered by some as the matronly former star who cameos in Grease it may be because she is only one of a handful of women whose career lasted her entire adult life; she worked almost continually. And while she tended to scoff and discount her own artistic needs, her drive to pursue roles appears to have been motivated by more than money.  Blondell trusted her talents to provide for her but ached for more; she craved fulfillment on a personal and professional level.  She ultimately gave up dating but continued to work, even while seriously ill, until the age of 73, when she succumbed to leukemia.

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Joan Blondell with husband Dick Powell

This well-researched biography covers all phases of this actor’s busy and tumultuous life, almost so much so that the larger arcs are elusive.  Her marriage to Dick Powell lasts eight years but the ups and downs and moves are so frequent, and the intermingling of professional and personal so complex, that the longevity is almost lost.  This is the most significant intimate relationship in Blondell’s life.  Powell is the father of her two children, with her eldest being adopted by him in the early happy years.  Yet this aspect of the book is a minor quibble and perhaps unavoidable given its sweep. It is enriched by numerous interviews, archival research, family memories and haunting recollections.

Blondell’s story spans much of the twentieth century and carries within it the tremendously complex changes occurring in the entertainment industry. Blondell adapts and sashays these changes with skill and sacrifice, working in not only vaudeville and movies, but theater, radio, summer stock and television. Consequently, she is sometimes missing from home for months at a time yet is a devoted mother; many times her children travel with her. More often, her struggles and heartaches, both professional and personal, are due to male attitudes than her own choices; as a woman I ached for her.  When she died I cried.  Through it all she retained the generosity of spirit that made her an audience favorite.

I knew Joan Blondell was something special when I was a small child.  Sitting on the floor staring up at the television screen, watching Here Come the Brides, I took notice when she was introduced in the opening credits with her own solo title card, “and Joan Blondell as Lottie”.  She was charming and warm, still beautiful but comfortingly maternal.  She was the proverbial heart of gold in that series but she was more.  She radiated something unmistakable, the charisma of a movie star, a Hollywood survivor.  When Blondell appeared, she owned the screen.  I tuned in week after week not just for teen heartthrob Bobby Sherman but for her.  Her warmth was something I sorely needed in my life and I adored her for it.  Imbued with the same spirit, this rendering of Blondell’s life is highly recommended.

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This post is the fifth in the 2017 Summer Reading Challenge hosted by Raquel Stecher of Out of the Past.  For more book reviews please check her blog throughout the summer!!

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Ava Gardner: A Life in Movies

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In retrospect Ava Gardner can be a mysterious and contradictory figure, awash in allure and breathtaking beauty. Considered to be one of the world’s most stunning women, she was contracted to a studio that seemed to be at a loss with how to manage her; she did some of her best work on loan or independently.  She had a stated desire for domesticity, children and marriage but her most significant decisions expressed an overwhelming hunger for experience and adventure. Despite insecurity regarding her own talent, she boldly entered varying shooting locations with unfamiliar faces, unknown actors and half-written scripts, doing so with courage and aplomb, only losing outward signs of professionalism as her private life unraveled and the hurts exacted a toll. Too often she bolstered her confidence with liberal amounts of alcohol, resulting in distilled bravado. Not surprisingly she did her best work with sympathetic supportive directors who could tap into her raw sensuality and vulnerability while respecting her fearless beauty and artistic integrity.

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Functioning as both coffee table book and detailed biography, Ava Gardner: A Life in Movies knowingly embraces these contradictions and chooses to move along at a fast, luxurious clip. The pace matches the mercurial, hectic and audacious life of one of the last of Hollywood’s true movie stars, a magnetic screen presence as earthy as the North Carolina soil from which she came. Eminently readable and meticulously researched, the book includes a multitude of photographs, behind the scene candid shots, movie stills and promotional images, beautifully interspersed to illustrate pivotal points in this actor’s life. Yet these are still secondary to the text, which treats its subject to a respectful yet honest look at her life and career. As such it lends itself to being a gorgeous reference book, not only a picturesque gallery for each of her films but a source for understanding the heartaches and frustrations that Gardner faced in filming, in loving, and in living.

Gardner’s adventurous spirit and joie de vivre was apparent from her first trips to New York, heady experiences for a young woman from a simple background. As a child, her enthusiastic embrace of life expressed itself as a tomboy’s love for fun and simple pranks. Ava’s early years of poverty and frequent moves, grounded in her love for her father and the devotion of her mother, are given sufficient exploration here, laying the foundation for an understanding of the unchanging aspects of her inherent nature; Her values are clear at the outset. Yet Gardner’s beauty was not easily ignored and despite her naivete, a life-changing photo shoot while visiting her sister in the big city ultimately led to a screen test with Metro-Goldwyn-Mayer. Later Gardner’s passion for new experiences transported her to homes, location shoots and lovers in Hollywood, Madrid, Rome, Mexico and London. Her restlessness led to both good and bad choices, world-wide fame and crushing heartbreak. Gardner was a woman ahead of her time, independent in spirit and frequently in conflict with her studio and her inner desire for respect as an actor, despite her many protestations that she was merely seeking the lucrative pay. In the mid-fifties, following filming that repeatedly took her to Spain, Gardner finally settled there, leaving America for good. As such she developed the lifestyle of many ex-pats of the era, a decision that suited the filming schedules and on location shoots that became arguably de rigueur as the major studios struggled to face the challenges of television. Through it all she wrestled with her own fears that audiences and those in the industry would discover she was merely ‘The World’s Most Beautiful Animal’ as she was so famously labelled, a moniker now glaringly dated in its sexism.

One wonders if Gardner might have had different inclinations regarding her talent if her romantic life had transpired differently. Gardner’s husbands pursued her unrelentingly. Her three marriages were combustible; her third to Frank Sinatra was a union marred by immeasurable passion and unending conflict.  Yet the first two were traumatic as well and potentially emotionally damaging. First husband Mickey Rooney, the perpetual boy in a man’s body, was unprepared for marriage to a beautiful naïve daughter of the south.  Indeed, once the MGM marvel bedded his virginal bride, leading to a sexual awakening for Gardner, he had difficulty fulfilling the role of devoted husband, remaining a gregarious, roaming Lothario. Second husband Artie Shaw inflicted a different kind of wound. Determined to act as Professor Higgins to Gardner’s Eliza, he was mercilessly critical of her lack of intellectualism and cultural sophistication. In a period reminiscent of Marilyn Monroe’s own attempts to overcome feelings of inadequacy stemming from a simple background, Gardner worked to keep up with him.  She met his unrelenting criticism and demands by taking classes, reading literature, pursuing her interests in jazz and classical music.  But as she did so he grew bored and the marriage folded. Her deep disappointment at the failure of these two marriages left her vulnerable and open to a third with a volatile, charismatic Frank Sinatra. A fiercely determined talent and temperamental womanizer, Sinatra met his match in Gardner, a woman possessed of the same impetuosity and high spirits. He was so enamored of the raven-haired green-eyed rising star that he left his wife of twelve years. Yet such was the warmth of Gardner that his famous offspring remember her fondly as a natural beauty, glamorous even without make-up, accepting of their presence, both fascinating and giving.

Sinatra and Gardner’s affair was a public relations nightmare that instigated a barrage of criticism. Gossip columnists and film fans perceived the actress as a home wrecker and the crooner as a fallen Catholic. Both careers suffered temporary blows. Following a tempestuous marriage, the two eventually settled on a lifelong simmering friendship once the flames cooled, with Gardner wistfully reminiscing on what might have been with the second sight of maturity. Sinatra carried his own contradictions; he became a steady rescuer for her on numerous occasions as their lives progressed.

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The dynamics of these relationships and others are well-elucidated by authors Kendra Bean and Anthony Uzarowski, who provide specifics without indulging in salaciousness.  Personal details of Gardner’s private life are neatly juxtaposed with accounts of her experiences in making movies, each grounded in chronological time and place. While some of her films may have at times lacked substance or even popular appeal, in others her smoldering persona captured the sensual yearnings of audiences. From her breakout role in The Killers to Mogambo, Bhowani Junction and On The Beach, Gardner was unrelentingly riveting.

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In hindsight John Huston’s rendering of Tennessee Williams’ The Night of the Iguana stands as perhaps her greatest film; it was her last significant screen role.  As the wise, weary Maxine Faulk she ultimately reaches the epitome of her talent, delving within for a rich, worldly vulnerability that in many ways echoes the woman she had become.  If Gardner was ever to have been awarded an Academy Award it would’ve been for Iguana yet that recognition was never bestowed.  The authors pay loving attention to this significant film, rightfully and rewardingly so.

As with any actor she passed on some good roles and was overlooked for others. Yet she worked with many of the most significant directors and writers of her time, establishing enduring relationships along the way.  Her warm friendships with John Huston, Ernest Hemingway, Tennessee Williams and many other significant figures are a remarkable testament to the fascination this woman held for those who appreciated her unique brand of Southern charm and sensuality. The lifelong presence of other friends, such as Grace Kelly and Gregory Peck speaks to her generosity of spirit. Film fans familiar with these larger than life personalities of the twentieth century will find exploration of these relationships a satisfying aspect of this biography.  Ava Gardner: A Life in Movies is a sumptuous feast for the eyes, beautifully presented in a format sure to resonate with fans of classic film.  As such it is a treatment that Ava Gardner ultimately and finally richly deserves.

ava 5.jpgMany thanks to Running Press for providing this lovely book for this review. It is appreciated. Ava Gardner: A Life in Movies is available through Amazon and other booksellers.

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This post is the second in the 2017 Summer Reading Challenge hosted by Raquel Stecher of Out of the Past.  For more book reviews please check her blog throughout the summer!

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Dancing As Fast As They Can: Dance, Girl, Dance (1940)

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A RKO Production ~  Director: Dorothy Arzner, Based on a story by Vicki Baum, Screenplay by Tess Slesinger and Frank Davis, Art Director: Van Nest Polglase,  Costume Designer: Edward Stevenson

What a warm, satisfying movie this is. As must happen in post-Code Hollywood, a young woman pays a price, both for her naïveté as well as her ability to pack a good wallop, but becomes a better woman for it, having come to terms with her own nature and realizing her dreams in the process.

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There is so much in Dance, Girl, Dance that it’s hard to know where to begin. What’s most interesting is that Dorothy Arzner has been able to present characters that make many mistakes and yet remain sympathetic. She has an unerring sense of humanity towards these people, hiding their foibles in plain sight by rendering them as charming as they are flawed and struggling.

Their struggles involve primarily finding out who they are but also in finding who they love and it is only in resolving the first that they are able to discover the second. The resolved romances at films end work nicely to underscore this sense that these people have finally come home, only to find themselves opening the door. The film works as a romantic comedy but definitely has serious pre-feminist undertones.

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Our heroine,  Judy O’Brian, played by a luminous and young Maureen O’Hara, admits her Irish feistiness but acknowledges she “keeps it to a low simmer”. Her best friend, also a bit of an antagonist, is portrayed by a gorgeous and scene-stealing Lucille Ball. She plays Bubbles, a gold-digger disguised as a dancer but not necessarily one with a heart of gold. Her comedic gifts are certainly on display but here there’s a toughness and an edge rarely seen. Bubbles’ primary aim is to find that gold and keep it for herself; survival is the name of the game. While she’s capable of being a friend she’s not necessarily capable of being a good one.

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Bubbles offers Judy a chance to finally make a living dancing but it’s a humiliating one where she is actually called a Stooge. Sent on stage to be mocked and laughed at, she’s there to stoke the crowd for the more seductively naughty Bubbles, now facetiously dubbed Tiger Lily White, in a burlesque show.

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Judy longs for the kind of break that would allow her to truly pursue her heart and become a serious dancer, but her lack of confidence gets in the way and prevents her from sensing opportunity when it literally smiles her way. As the one doing the smiling, Ralph Bellamy adds a warm presence and a handy shoulder.

Judy’s nightly onstage humiliation moves her anger from what was a simmer to a slow burn and ultimately a full-blown knockdown drag-out with Bubbles. Ostensibly about a man who takes turns toying with each of them, a smarmy Louis Hayward, the confrontation is more about the women’s relationship and who they are to one another. Bubbles maintains this friendship not just because Judy has been useful to her but because she brings a warmth and depth to her life that would not be there without her companionship. Similarly, Judy admires Bubbles ability to unabashedly pursue her selfish interests and thereby make her way in the world, a man’s world, despite compromises. These are two tough women and they admire each other. But the dichotomy they represent is also why they come to blows.

This film opens with a simple dance sequence, marked by dazzling costumes, that immediately establishes character.  This small troupe is overseen by a wise Maria Oupenskaya, portraying Madame Lydia Basilova, who makes a short but lovely appearance as the original source of strength for these women.  Madame, a former ballerina and  head of her own dance troupe is a role model for Judy and Bubbles in an industry compromised by catering to men’s ogles and desires. Madame is tragically killed when Judy goes to what should’ve been her big break but which instead becomes only a revelatory moment; Judy is too frightened to fully pursue her dreams.  It is only when she finally grabs hold of her own anger that she is able to understand she is entitled to her own happiness.

Much of the story revolves around men who are used as plot devices; this is a woman’s story. In one literally show stopping moment O’Hara delivers a scathing speech to her predominately male audience, best seen rather than described. It’s far ahead of its time.

Despite being a film about dance the costuming works in homage to the characters and their development. The film opens with the small troupe dancing in unison in glittering black. However, as the women’s paths diverge, they are never again seen in identical costumes. Bubbles rise up the ladder of success involves not just a name change but the donning of gorgeous coats with luscious fur collars. She is expensively accessorized. Similarly, Judy is seen in simple designs, even wearing a Peter Pan collar to a nightclub, until the very end when she finally comes into her own. The costumes in this picture were designed by Edward Stevenson,  known for his ability to enhance story without drawing attention to his own designs. He later became the favorite designer for Lucille Ball who appreciated his eye for character-driven costumes that never overpowered her considerable personality except when needed for comedic effect.

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Maureen O’Hara positively glows with her youthfulness and beauty in this early role. A mere twenty years old at the time, she had already succeeded in starring roles in two motion pictures, this being her fifth film.

For Lucille Ball, the road to fame was a much longer, arduous process. Almost unbelievably this was Ms. Ball’s 60th film, with many more to come before she finally achieved stardom as Mrs. Ricky Ricardo in the famed I Love Lucy television series. The series was a love child for Lucille Ball and her husband Desi Arnaz.

Based on a story by Vicky Baum and a script by the frequent screenwriting partnership of Tess Slesinger and Frank Davis (A Tree Grows in Brooklyn) Dance, Girl, Dance definitely showcases the perspective of the women who created it and the men who supported their vision.

Recommended, for knowledge of woman in film, lovers of Maureen O’Hara and Lucille Ball and sheer entertainment. 

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Notes and Extras

  • Bosley Crowther at the New York Times didn’t particularly care for this one, citing it as “a saga of glamour-struck chorines to end all sagas of said glamour-struck chorines” and not in a flattering way.  He does have a few kind words for Lucille Ball.
  • Yet this film is gaining in esteem and this is reflected over at Streamline, the Filmstruck Blog.  David Kalat gives it a fair amount of space and good words, in addition to exploring some other movies in the ‘small town girl hoping to make good’ genre.
  • Crowther also withheld praise from Too Many Girls, Desi Arnaz’s first film, co-starring his new bride, Lucille.  The influential critic had better words for her than for Arnaz who he panned horribly describing him as a “a noisy, black-haired Latin whose face unfortunately lacks expression and whose performance is devoid of grace”.  Needless to say Arnaz persevered.
  • The couple not only persevered but went on to buy  the very property where this was shot, along with the rest of RKO’s soundstages and backlots, subsuming them into the massive empire that became Desilu Studios.
  • Lucille Ball and Desi Arnaz actually met during the filming of Dance, Girls, Dance.  Due to the strenousness of filming a morning into afternoon vicious catfight between O’Hara and Ball, shooting was stopped, freeing up the latter for the remainder of the day. Lucy casually strolled over to a stage where the cast of Too Many Girls, already in the planning stages, was gathered.  Desi’s quick eye caught hers and he proceeded to not only show her his rumba but asked her to dinner for the evening.  As Lucy later recalled “we were in love almost immediately”.
  • Lucy and Desi were married on November 30, 1940, three months after the release of Dance, Girl, Dance.  For more on their breath-taking relationship and professional partnership, Lucy & Desi: The Legendary Love Story of Television’s Most Famous Couple by Warren G. Harris is highly recommended.
  • Maureen O’Hara and Lucille Ball became fast friends during the filming of this picture and remained so until Ball’s death in 1989.  O’Hara, nine years her junior, outlived her by twenty-six years.
  • Costume designer Edward Stevenson first worked with Ball on That Girl From Paris (1936), another RKO film. When seeking a designer for her television show I Love Lucy, Ball sought him out.  He worked for her until his death from cardiac arrest in 1968. At the time, Stevenson had placed a called to Desilu to consult upon a fabric. When Ball got to the phone, she was informed he’d been stricken.
  • Director Roy Del Ruth was initially assigned to direct this film, but left the production, causing Arzner to scramble and pull the film together and quickly.
  • Dorothy Arzner was well-suited to pulling things together.  As the only female director working in the 1930’s, she was adaptable.  Arzner was the first woman to direct a sound film and the first to join the Directors Guild of America.
  • Dance,Girl, Dance is available for streaming through Amazon, to either rent or purchase.  Choices, choices.
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Dorothy Arzner with Lucille Ball on set