Drawing from the biographies of some of Hollywood’s most glamorous women of the screen, author Caroline Young has done a fascinating thing: she has woven a history of cinematic Rome at its pinnacle, infusing it with a heavy dose of sultry Mediterranean sun-drenched days and nights steeped in wine, torrid passions, and an ever-present paparazzi.
Following the end of World War II, a new lust for life rose from horror and deprivation, sparking a refreshing cinematic renaissance, centered in Rome. The stars and their entanglements were larger than life and so were the movies. Roman Holiday: The Secret Life of Hollywood in Rome, beautifully depicts this era, covering the fifties, sixties and into the early seventies, as the glamour aged into a seedy bohemian spirit.
The fledgling Roman cinema, centered upon Cinecitta, began by tentatively exploring the sense of desperation that typified the war years. As recovery took hold this shifted to a technicolor joyousness, celebrating the resilience of the human spirit in its many cinematic forms but never leaving behind an inherent romanticism that captured the imagination of a weary world. Indeed, this seemed to be the balm for its soul, providing not only film treasures but rich soil for fans never-ending taste for the salacious. Actors, famous and infamous, were fiercely pursued by photographers, the latter typified by their aggressive tactics. Dubbed paparazzi, these snapshot artists, hungry from years of hardship, were an unrelenting presence as they sought their share of the money that flowed so freely from Hollywood profits prohibited from traveling overseas. If the money couldn’t come to America, then its stars and their entourages would go to Rome.
The spirit of these heady times is captured in some of the most memorable films of the era: Quo Vadis,Three Coins in the Fountain, The Barefoot Contessa, La Dolce Vita, Cleopatra, and of course Roman Holiday, from which this book takes its title. Arranged in a loosely chronological fashion, each chapter focuses on a particular leading lady (with Richard Burton being the sole exception), sometimes returning as each actor’s story resumes several years later. For those who have previously perused the biographies of Audrey, Ava, Elizabeth, Ingrid and more, some of this may be a review but the clever way that Young weaves together ambiance, friends and lovers, and film-making history makes this a fun and snappy read.
There are times when it all seems to come together: the zeitgeist, the talent and the easy money. Roman Holiday captures it all with detailed descriptions of the places, streets, restaurants and movie sets. If you’ve ever wished that you were there, amidst a steamy Roman adventure when the city was known as “Hollywood on the Tiber”, you’ll find the next best thing in Young’s juicy, richly interwoven accounts of the private and professional affairs of some of Hollywood and Europe’s most luminous stars.
Thank you to Trafalgar Square Publishing, the author and NetGalley for providing me with an eReader copy of this book. Roman Holiday: The Secret Life of Hollywood in Rome by Caroline Young (The History Press 2018) is available in Hardcover and eBook from Amazon.com, Barnes and Noble or your favorite bookseller.
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.
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 🙂
Few of the legendary movies stars of the first half of this century were personally capable of equaling the glittering images they projected with the help of studio publicists and the roles they played on the silver screen. William Powell was a notable exception to that rule.
William Powell was a private man. He was a public figure and yet a complex, private man. Therefore the task before biographer Charles Francisco was a challenging one. Certainly there were plenty of stories in popular Hollywood magazines of the era, tabloid features and interviews, but views into his private life were limited. He married three times and fathered one child, a son, who tragically committed suicide in 1968. Aside from his third wife, these significant figures had long departed and there is no indication that wife Diana Lewis chose to reveal the private man. His closest friends, who included Richard Barthelmess and Ronald Colman, had long departed; he outlived almost all of them but Myrna Loy. In fact Powell himself died during Francisco’s research. Yet the author has done a remarkable job in giving us a solid sense of William Powell, the essence of the man and of his life; it was one filled with satisfying successes, occasional frustrations and sometimes all too public tragedies.
Carole Lombard and William Powell marry
Bill and Carole at home
With fiancee Jean Harlow
Grieving at Harlow’s funeral
Famously, Powell married and divorced Carole Lombard, then became engaged to Jean Harlow, remaining so until her death at age twenty-six. He grieved openly at her funeral, flanked by his mother and a studio attaché for support. Her death ushered in a period of struggle for Powell. Shortly after this profoundly difficult loss he was faced with another crisis, rectal cancer. Metro-Goldwyn-Mayer softened the blow for the public, citing his long absence from the screen as due to colon cancer, relating few details; the actor was one of the first patients to undergo treatment with implanted radium. This combination of blows – the death of Harlow, two surgeries and a lengthy recovery – perhaps deprived us of additional films that might have added to his legacy. His absence took him into middle-age and some unfortunate type-casting.
Bill and Myrna in The Thin Man
As Nick and Nora Charles
Powell became a comedic success with The Thin Man, the role for which he is perhaps best remembered. Its popularity led to further Thin Man films, six in total, and while he certainly enjoyed the role, and was surely grateful for its gifts, he knew he was capable of much more. Happily he was later able to show his range in several highly successful and still memorable films, namely Life with Father, How to Marry a Millionaire and finally Mister Roberts. Portraying the wise and weary ‘Doc’ in the latter put Powell among a new generation of actors and before new audiences. Yet the on-location shoot tired him and he chose to bow out, departing from the screen at the age of 62. He eventually left this world for good thirty years later. In doing so he left behind a sweeping body of work that starts in the silent era, polishes many pre-Codes and ultimately enchants in some of the most enduring romantic comedies of the thirties and forties.
With Kay Francis in Behind the Make-Up
With Ann Harding in Double Harness
With Jean Arthur in the Ex-Mrs Bradford
With Hedy Lamarr in The Heavenly Body
If you are a fan of Powell’s, as I am, this book is one to search out and find. The tone is warm and measured, never salacious or engaging in sordid speculation, despite Powell’s romancing and co-starring with some of the most beautiful and sought after women of the early days of Hollywood. Francisco treats his subject, and the numerous Hollywood luminaries and fellow players he encounters, with respect and admiration, pulling from available files, newspaper and magazine articles, archives and Powell’s own writings. In doing so he constructs a portrait of a man who was far from perfect but generally well-intended and truly the gentleman that he hoped to be. Known as a movie star, he was first an actor and an absolute master of his craft.
I was sad to reach this book’s end for to do so was to leave behind a life well-lived. Powell is painted as a man who didn’t always have the answers but who sure as hell tried to find them. This was a lovely, satisfying and moving book. I highly recommend it.
Gentleman: The William Powell Story includes a filmography and two sections of black and white photographs. It is book-ended by a prologue and epilogue, with the first and last paragraphs shared here, suitably opening and closing this review.
Perhaps Myrna Loy, who co-starred with most of the movie legends, described Bill Powell best. She said, “There’s just nobody like him, and there’s never been anybody quite like him.” Unfortunately, in the course of contemporary film, we may never see his like again.
This post is the third 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! This book is available through Amazon and other used and vintage booksellers.
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.
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.
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.
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.
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.
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.
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”.
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.