Tag Archives: Columbia Pictures

Cary Grant in the 1960’s: Courtship, Marriage, and Family with Dyan Cannon as Grant made “That Touch of Mink” (1962), “Charade” (1963), “Father Goose” (1964) and “Walk, Don’t Run” (1966).

FEATURE image: “Cary Grant” by classic film scans is licensed under CC BY 2.0.

By John P. Walsh

Cary Grant made 72 films in a 34-year Hollywood career. Grant made his last six films in the 1960’s. After a successful acting career spanning four decades—Grant’s film debut was in 1932 for the Paramount Pictures’ comedy This is the Night and he received an honorary Oscar in 1970– he chose to retire from the silver screen in 1966. In that time, Cary Grant had become a household name synonymous with suavity, comedy, drama, romance, and his perpetually tanned-and-pressed good looks.

“Ours is a collaborative medium—we all need each other,” Cary Grant said as he accepted his honorary Oscar from presenter and friend Frank Sinatra at the 42nd Annual Academy Awards ceremony on April 7, 1970 at the Dorothy Chandler Pavilion in Los Angeles, California. 

The 66-year-old leading man and comic actor, whose film career ranged from 1932 to 1966, never won an Oscar. In 1970 he thanked the Academy whose audience that night gave him a standing ovation. Grant, who made over 80 films, including a long list of classic titles, expressed gratitude for “being privileged to be part of Hollywood’s most glorious era.”

Grant’s final film came in 1966 with the summer release of the comedy, Walk, Don’t Run. It was one more film made by one of Grant’s newly-formed production companies and distributed by Columbia Pictures. Not coincidentally, in February of that same year, the 62-year-old Grant, who had married his fourth wife, 29-year-old Dyan Cannon in June 1965, became a father for the first time. Grant called his baby daughter his “best production” and looked to give her the best of his attention and time. Grant opined: “My life changed the day Jennifer was born. I’ve come to think that the reason we’re put on this earth is to procreate. To leave something behind. Not films, because you know that I don’t think my films will last very long once I’m gone. But another human being. That’s what’s important.”

Cary Grant and wife Dyan Cannon with their baby daughter who was born on February 26, 1966.

Grant starting wooing Dyan Cannon in 1962. Within a three-year whirlwind courtship, as well as becoming eventually pregnant with Grant’s baby, a 28-year-old Dyan Cannon in 1965 sought once more a marriage proposal from one of cinema’s best, perhaps the best, and most important actors. But, once married, Dyan Cannon soon discovered that their marital relationship was more polite and frosty than she had expected to face with Hollywood’s quintessential leading man. On March 20, 1968, less than three years after tying the knot in a secret wedding ceremony in Las Vegas, Nevada, followed by flying to England in a private jet supplied by Grant’s longtime friend, magnate Howard Hughes, Cannon sought and was granted a divorce. As Cary Grant’s former wife and mother of his only child, Cannon did receive alimony from Grant to raise their daughter but the up-and-coming actress had to sort things out more completely after their break-up. Theirs had been a love affair with many memorable romantic moments. But Grant’s earlier confidence to Cannon when they were dating could have been seen as a warning of sorts if things happened to get more serious. “I don’t know what it is, but something happens to love when you formalize it,” Grant told her. “It cuts off the oxygen.”

Grant appears in character as an angel named Dudley in this promotional photograph for the 1947 fantasy romance film, The Bishop’s Wife. By seductively playing a certain song on the harp, Dudley convinces a rich woman to support the bishop’s cathedral building project. In real life, Grant was an ardent piano player.

When Grant asked to meet Dyan, she assumed it was for an acting part. Grant began his romance with then 25-year-old Dyan Cannon in 1962. By fall of 1962 the couple flew from California to New York where Cannon began rehearsing for The Fun Couple, a Broadway comedy play starring Jane Fonda and directed by Andreas Voutsinas. Grant meanwhile worked with film director Stanley Donen on Charade, an upcoming romantic comedy, pseudo-Hitchcock mystery thriller that Grant would co-star in with Audrey Hepburn. Hepburn had been filming another romantic comedy, Paris When it Sizzles, with William Holden.

Promotional poster for Stanley Donen’s Hitchcockian suspense thriller, Charade. The hit 1963 film was made in Paris in 1962 and 1963 and released at Christmas 1963. It starred Cary Grant and Audrey Hepburn.

The Main Title for Charade with its punchy animated titles by Maurice Binder (1918-1991) was composed by Henry Mancini (1924-1994). At 39 years old Mancini was an Academy Award-winning composer — Breakfast at Tiffany’s in 1961 and Days of Wine and Roses in 1962. Charade would begin a number of successful collaborations for Mancini with Stanley Donen in the 1960’s, including Arabesque in 1966 starring Sophia Loren and Gregory Peck and Two For the Road in 1967 with Audrey Hepburn and Albert Finney.

Henry Mancini, c. 1970. The Main Theme from Charade was the first of a number of successful film score collaborations Mancini had with director Stanley Donen in the 1960’s.

On the Billboard Hot 100 singles chart a slightly longer vocal version of Charade reached no. 36 and was one of two top-40 pop hits for Mancini in 1963. It peaked at no. 15 on the Adult Contemporary chart. Charade produced one of Mancini’s eighteen Academy Awards nominations (he won four) for Best Original Song. The Oscar that year went to Jimmy Van Heusen and Sammy Cahn for “Call Me Irresponsible” from Papa’s Delicate Condition, a comedy starring Jackie Gleason and Glynis Johns.

Maurice Binder did film title designs for dozens of films but is particularly known for ones he did for Stanley Donen such as Charade, as well as Indiscreet in 1958, The Grass Is Greener in 1960, and Bedazzled in 1967. Maurice Binder is also famous for 16 James Bond film titles he designed starting with the first Bond film, Dr. No, in 1962. In 1991 Binder explained the genesis of his main titles for Bond: “That was something I did in a hurry, because I had to get to a meeting with the producers in twenty minutes. I just happened to have little white, price tag stickers and I thought I’d use them as gun shots across the screen. We’d have James Bond walk through fire, at which point blood comes down onscreen. That was about a twenty-minute storyboard I did, and they said, this looks great!”

Bond Films Openings. Maurice Binder created the series’ first “Gun Barrel Sequence” for Dr. No in 1962.

Charade’s animated Main Title and music follows a wide screen shot of a quiet pre-dawn countryside in Europe as a speeding train eventually approaches and screeches past. A body is dumped out of the moving train, plunges down the ravine and stops in a ditch, the camera providing a close-up of the dead victim’s face. Colorful animation follows of pinwheels as the relentless wood-block-driven music heighten tension for what will be two charming lovers caught in a mysterious web of criminals after money.

Stills montage of Maurice Binder’s Main Title for Charade that accompanies Henry Mancini’s music.

Grant reluctantly left Cannon and the comforts of his suite at the Plaza in New York to make his way to Paris to shoot Charade (Hepburn’s home was near Paris). Walking along the left bank of the River Seine near Notre Dame is the Pont au Double bridge, just below the Quai de Montebello. During the filming of Charade, Cary Grant and Audrey Hepburn walk along the riverbank below this bridge as they discuss who the killer is. Just outside of Parc Monceau is the Musée Cernuschi on the Avenue Velasquez. The museum is featured in Charade, where it is used as Reggie’s apartment which she finds ransacked after returning from a holiday ski trip. Located near the Louvre is the Palais Royal which was originally the residence of Cardinal Richelieu, and later the property of the King of France housing apartments, offices, shops and restaurants. The Palais Royal appears in Charade in its final scenes when the real Carson Dyle is revealed and shooting begins.

Shooting scenes for Charade involved many locations in Paris.

When Dyan Cannon had her first holiday break from Broadway rehearsals at Christmas, she hopped on a flight to Paris. Arriving on Boxer Day in 1962, Grant and Cannon spent the next several days together in his hotel. On New Year’s Eve, Grant and Cannon were the special guests of Audrey Hepburn and her husband Mel Ferrer at their castle. There was a sumptuous dinner and many flights of crisp and creamy French champagne. Cannon flew back to the States on January 2, 1963, after a most pleasant holiday. She resumed her theater work in New York City while Grant and friends stayed on in Paris to continue filming Charade.

Cary Grant, making his 70th film, was reluctant to leave the U.S. for Paris for the several months in late 1962 and early 1963 it took to film Charade. It premiered at Radio City Music Hall in New York City on Christmas Day 1963.

Radio City Music Hall in 2008.

The film Charade is well-known for its Hitchcock-style inspiration and screenplay by the original story’s author Peter Stone (1930-2003). From Stone’s 1961 short story, The Unsuspecting Wife, the film Charade offers witty lines and a head-knocking, heart-pounding whodunit. In Charade, Regina “Reggie” Lampert (Hepburn) is on winter holiday in the French Alps. Returning to her home in Paris, she is shocked to find that it has been ransacked of everything of value. The mysterious victim in the Main Title and the mysterious man Reggie just met on holiday in Grenoble– Peter Joshua, alias Alexander Dyle, alias Adam Canfield, alias Brian Cruikshank (Cary Grant) –merge into her life to help her solve the mystery of why these crimes have occurred and what they mean. Charade is about hidden money, spies and larcenists, double-crossing and being on the run. Besides that, it’s a love story. Charade was one of the last of a long line of suspense-screwball comedy films –a staple Hollywood film genre since the 1930’s–that faded out during the tumultuous 1960’s and not to reappear until the 1980’s.

Charade opened on December 25, 1963 at Radio City Music Hall. The film made six million dollars while the reviews, though mixed, were mostly positive. Critics did remark on the age difference between the romantic leads –a 59-year-old Cary Grant and 34-year-old Audrey Hepburn. By early 1964 the perfectly suave and likeable leading man for over 30 years was beginning to think about retirement. But there were still some things he hoped to accomplish first.

Charade in the rear view mirror, Grant came home just as Cannon became mostly absent. Throughout 1964 and much of 1965 Cannon had done no film work yet but continued her theater career as she was touring the country in the musical How to Succeed in Business Without Really Trying. Looking for something to do with his time, Grant formed a production company and made Father Goose.

Photographs above: Cary Grant in Operation Petticoat.

Grant’s character, Walter Eckland, played against Grant’s film type. Ecklund was a bedraggled loner in the South Pacific during World War II who reluctantly takes under his protection an unmarried French school teacher (Leslie Caron) and her seven grade school students. They were suddenly made refugees from the war during a Japanese bombing raid. The heart-warming Father Goose was a mega-hit at its release during Christmas 1964 and made millions of dollars. Receipts, however, were significantly less than in each of Grant’s three previous films — Operation Petticoat in 1959 with Tony Curtis, That Touch of Mink in 1962 with Doris Day, and Charade. Despite a lot of pre-Oscar buzz, Grant wasn’t even nominated for his performance. It was one more disappointment for Grant as he worked to possibly be given an Academy Award before he might retire.

Cary Grant and Doris Day in the hit romantic comedy, That Touch of Mink. Grant was dismayed that his 1964 romantic comedy adventure film Father Goose made less money than Charade and almost $6 million less than That Touch of Mink in 1962 and Operation Petticoat in 1959 combined.

That Touch of Mink co-starred Doris Day and Cary Grant. It was the hit movie of summer of 1962 though outshined in the movie world later that year by Lawrence of Arabia and The Longest Day. The romantic-comedy is great fun—it won, in this different age, a Golden Globe award for Best Comedy Picture-—and became a popular rerun on TV for the next decade.

Cary Grant was cast as wealthy businessman Philip Shane, a role originally meant for Rock Hudson. That Touch of Mink was, above all, intended to be a Doris Day vehicle. From 1962 to 1964 Doris Day was THE top box office star in Hollywood. Her presence definitely contributed to Universal Pictures’ bottom line since That Touch of Mink was the fourth biggest money maker of that year.

Playing working girl Cathy Timberlake, the movie is basically a stylish “boy meets girl, boy loses girl, boy gets girl back”—and given a chance to learn his lesson, they get married. American audiences loved the concept as well as Day and Grant together on the big screen. The film was the fastest million-dollar earner of the year- and set a record at the time for the highest gross earnings in an initial theatrical release.

For Grant it was his second highest grossing film of his 30-year career, which was especially prosperous for the 58-year-old actor since he was a co-producer. Grant personally made $4 million for That Touch of Mink (around $35 million in today’s money). Three weeks after its opening, Betsy Drake, Grant’s third wife, found it an opportune time to file for divorce.

The court proceedings of the high-profile couple after more than a decade of marriage were followed intimately by the press. The settlement for Drake, who told the papers, “I was always in love with him and I still am….but…he left me long ago,” included over one million dollars in cash and a profit share in every Cary Grant film ever made up to 1962.

Meanwhile, That Touch of Mink, a film thick with early 1960’s conventional sensibilities, was nominated for 3 Academy Awards. Both Grant and Doris Day never won an Academy Award. In 1970, after Grant retired from film, he won an Honorary Academy Award. The story goes that after her exit from films, Doris Day (born Doris Kappelhoff in Cincinnati, Ohio in 1922) was offered the Honorary Oscar multiple times but always turned it down. In 1962 That Touch of Mink was nominated for Best Sound, Best Art Direction and Best Screenplay. For the first two categories Oscar went to Lawrence of Arabia and, for the third category, to Divorce Italian Style.

Newly married in June 1965 to Dyan Cannon who was expecting their baby, Grant announced he was flying to Japan to make another movie. Grant returned to California permanently just in time to drive his wife to the hospital to deliver their first child, a baby daughter, born on February 26, 1966.

In June 1965, with Father Goose and the Oscars behind him and Dyan Cannon’s national tour ended—Grant and Cannon, who was now pregnant, got married. After a secret marriage ceremony in Las Vegas and a honeymoon, their news was eventually publicized. As the excitement began to settle down, Grant informed Cannon he would be making another film—and was traveling to Japan by himself for the next many months.

Grant had formed another production company and with producer Sol C. Siegel, signed with Columbia Pictures to distribute his new film. Buying the rights to The More the Merrier, a World War II-era comedy, Grant took the role that had been nominated in the early 1940’s for an Academy Award. Grant’s 1966 remake was called Walk, Don’t Run in which he played a British industrialist, Sir William Rutland,

The music is by Quincy Jones including its main title, “Happy Feet.”

The story concerns three strangers—Sir William (Grant), American Olympic competitor Steve Davis (Jim Hutton), and a young single British expat Christine Easton (Samantha Eggar). Leading different lives they suddenly come together to share a cramped apartment in Tokyo during the busy 1964 Olympics. Grant personally selected Hutton and Eggar for their roles.

In the film, Christine, whose tiny apartment it is, would prefer a female roommate. She sublets to Sir William because he is pushy, charming and a fellow Brit in need. But he immediately sublets half of his portion to Hutton, making for three.

Comedy results from three outsized adults sharing an acutely small living space as they pursue as normally as possible their lives’ conflicting schedules. In Grant’s last film he intentionally worked it so he did not get the girl. Rather Sir William tries to get Christine, who is engaged to a boring British diplomat, to hook up with Hutton.

Walk, Don’t Run was one of Quincy Jones’s first big breaks. The 33-year-old Chicago-born Jones came to score the film after its star and Executive Producer, Cary Grant, recommended him for the job. Grant met him briefly through their mutual friend, singer Peggy Lee. From that meeting Grant felt Jones’ style would be perfect for the film and he made sure he was hired. Jones went on to enormous success as the composer of numerous film scores such as In the Heat of the Night in 1967 and The Color Purple in 1985 as well as the producer of successful pop rock recordings such as Michael Jackson’s bestselling albums, Off the Wall in 1979, Thriller in 1982, and Bad in 1987. Jones was executive producer of the 1985 global recording phenomenon, We Are The World. That collaborative recording project raised funds for victims in Ethiopia when one million people died in that country’s 1983–1985 famine. In 2013, Quincy Jones was inducted into the Rock and Roll Hall of Fame.

After Grant returned from Asia and the baby was born, in private and public he was adament that Walk, Don’t Run—released in June 1966—was his last film. It proved to be true. Grant stated he would not make a film with his wife, Dyan Cannon, a talented actress whose career had just begun. Instead, Grant insisted Cannon should retire from acting and be a stay-at-home mother. Grant’s ideas were not welcome news to Dyan Cannon, 33 years her husband’s junior. Already in 1966 Cannon began to wonder if—following an exciting courtship and an age difference (33 years) they barely mentioned—her marriage to Cary Grant was in trouble.

NOTES:

Best production— “Hollywood loses a legend”. Montreal Gazette. December 1, 1986. p. 1. 

That’s what’s important— McCann, Graham (1997). Cary Grant: A Class Apart. Columbia University Press, 1998.

Cuts off the oxygen— http://worldnewsblogx.blogspot.com/2011/10/my-husband-cary-grant-force-fed-me-lsd.html

Charade film locations—https://www.wessexscene.co.uk/travel/2017/02/21/audrey-hepburn-in-paris/

Fastest million-dollar earner of the year and record for highest gross earnings in an initial theatrical release – “Million-$ Gross In 5 Weeks; ‘Mink’ A Radio City Wow”. Variety, July 18, 1962. p.1. and “B’way as Spotty as Weather; ‘Town’ Big $41,000, ‘Guns’ Only Okay $20,000, ‘Grimm’ Giant 59G, ‘Mink’ 151G, 10th” Variety, August 22, 1962. p.9.

Betsy Drake settlement – Eliot, Marc, Cary Grant A Biography, Harmony Books, NY 2004, p 337.

Last film and would not make a film with his wife— Ibid., p. 352.

Might be in trouble—Cannon, Dyan, Dear Cary: My Life with Cary Grant, 2011, p. 217 ff.

PHOTO CREDITS:

FEATURE image-Cary Grant by classic film scans is licensed under CC BY 2.0.

2-Cary Grant by classic film scans is licensed under CC BY 2.0.

3-Fair use.

4-Cary Grant by twm1340 is licensed under CC BY-SA 2.0.

5-CHARADE by Laurel L. Russwurm is marked with CC0 1.0.

6-Public domain published in a collective work i.e. periodical in the US between 1925 and 1977 and no Copyright.

7-Bond Films Openings Montage (Amalgamation) by avhell is licensed under CC BY-SA 2.0.

8-Charade titles by Maurice Bender by Stewf is licensed under CC BY-NC-SA 2.0.

9-Charade_1963_Audrey_Hepburn_and_Cary_Grant public domain because it was published in the United States between 1925 and 1963 and although there may or may not have been a copyright notice, the copyright was not renewed.

10- Cary Grant, in Charade 1963 by Movie-Fan is licensed under CC BY-NC-SA 2.0.

11- Let’s continue this little Charade by Thiophene_Guy is licensed under CC BY-NC-SA 2.0.

12-Radio City Music Hall (2008) by jpellgen (@1179_jp) is licensed under CC BY-NC-ND 2.0.

13-Cary Grant by classic film scans is licensed under CC BY 2.0.

14-MM008600-39 by Florida Keys–Public Libraries is licensed under CC BY 2.0.

15- Cary Grant and Doris Day by classic film scans is licensed under CC BY 2.0,

16-1947 Bristol-born Hollywood film star Cary Grant alighting from Bristol Freighter G-AGVC at Los Angeles, 13 Jan 1947. by Gary Danvers is licensed under CC BY-SA 2.0.

17- Walk, Don’t Run poster. Fair use.

18-Fair use.

CARY GRANT HOLLYWOOD FILMOGRAPHY (1962-1966):

1962:

That Touch of Mink
Cary Grant as Philip Shayne
Directed by Delbert Mann
Released June 14, 1962
Universal Pictures

1963:

Charade
Peter Joshua / Alexander Dyle / Adam Canfield / Brian Cruikshank
Directed by Stanley Donen
Released December 5,1963
Universal Pictures

1964:

Father Goose
Walter Christopher Eckland
Directed by Ralph Nelson
Released December 10, 1964
Universal Pictures

1966:

Walk, Don’t Run
Sir William Rutland
Charles Walters
Released June 29, 1966
Columbia Pictures

Marlene Dietrich, Elizabeth Taylor, Lana Turner: History of Hollywood Glamour Portraits of the 1930’s and 1940’s.

Marlene Dietrich, 1947.

Marlene Dietrich. Paramount, 1947. Photograph by A.L. “Whitey” Schafer.

MARLENE DIETRICH.

This Hollywood glamour portrait of forty-six-year-old Marlene Dietrich (1901, Berlin – 1992, Paris) wearing a green turtleneck sweater was taken when the movie actress was starring in Golden Earrings, a romantic spy film made by Paramount Pictures. It was her comeback film following World War II.

It was also in 1947—the same year that this photograph by A.L. “Whitey” Schafer was made— that Dietrich received what she called her life’s proudest achievement: the Medal of Freedom.

While Golden Earrings was a decent film, its main purpose was to provide the actress with a job. Further, it would lead into her next project—the 1948 American romantic comedy A Foreign Affair directed by Billy Wilder—which made Dietrich once again a top star.

Following Dietrich’s meteoric rise at Paramount Pictures starting in 1930 her acting parts later stagnated as film directors —including Josef von Sternberg and others—seemed to use her more as a piece of expensive cinematic scenery than as a serious dramatic actress.

The Shanghai Express is preparing to cross China, despite the raging civil war. On board, an adventurer, Shanghai Lily (Marlene Dietrich), and Hui Fei (Anna May Wong), an enigmatic young woman, capture the attention of the other occupants of their compartment. Among them is a British military doctor (Clive Brook) who was once the lover of the beautiful adventurer and has not forgotten her.

Shanghai Express, 1932, Paramount Pictures. Directed by Josef von Sternberg.

1940’s BLONDES.

Like other leading ladies of the time, the Hollywood glamour machine in the 1940’s transformed Dietrich into a golden-haloed blond which accentuated her magnificent cheekbones and sultry eyes under penciled-arc eyebrows and painted nails that this color portrait makes evident.

Photographer A. L. “Whitey” Schafer (1902-1951) was a still photographer who started shooting stills in 1923 and continued in that line of work at Columbia Pictures when he moved there in 1932. Personally outgoing, Schafer was appointed head of the stills photography department at Columbia three years later. In the 1940’s Shafer wrote copiously on his craft and advocated for techniques in glamour photography that are seen in this Dietrich color portrait.

SEMINAL BOOK ON GLAMOUR PHOTOGRAPHY.

In 1941 Schafer published Portraiture Simplified, a book in which he argues that “portraiture’s purpose is the realization of character realistically.” Among his technical observations Schafer wrote elsewhere that “composing a portrait is comparable to writing a symphony. There must be a center of interest, and in all portraits this naturally must be the head, or your purpose is defeated. Therefore, the highest light should be on the head.”

It was in 1941 that Schafer replaced Eugene Richee (1896-1972) as department head of still photography at Paramount Studios. Schafer remained in that position where he photographed the stars until he died at 49 years old in an accident in 1951.

Elizabeth TAYLOR 1949

Elizabeth Taylor. M-G-M, 1949. Photograph by Hymie Fink.

ELIZABETH TAYLOR.

Though still a teenager, Elizabeth Taylor (1932-2011) in 1949 when this photograph was made, was celebrated as the new generation’s great beauty.  In 1942, at 10 years old, Elizabeth had her film debut and her life and beauty blossomed over the decade in front of the cameras. This photograph captures her near the beginning of her cinematic career as an M-G-M star.

Who is Hymie Fink?

Who exactly was her photographer, Hymie Fink? His identity remains a mystery. Was Hymie Fink a studio photographer? Freelancer? Pseudonym for an unknown talent or combination of unknown talents? His name appears among the stars starting in the late 1930’s until his death was announced in the mid-1950’s by Hedda Hopper. The gossip columnist ended her newspaper column for September 28, 1956 with the epitaph: “Hymie Fink, one of the sweetest men in Hollywood, died of a heart attack on Jane Wyman’s TV set. Hymie photographed every star and every major event in (Hollywood) for twenty-five years.”

Lana Turner. 1939.

Lana Turner. 1939, photograph by László Willinger.

LANA TURNER.

Before she became in the 1940’s the well-known Hollywood platinum sensuous blond of movie legend and fame, Lana Turner (1921-1995) was just a pretty redhead from Idaho named Julia Jean Turner.

By the time this unretouched color portrait was made, 18-year-old Lana Turner had been discovered three years earlier in a manner that has made it into the annals of show-biz mythology. The immediate result of her discovery in an iconic malt shop near Hollywood High School where she was a student, was a movie contract with producer-director Mervyn LeRoy (1900-1987).

Sweater Sweetheart.

The title of Lana Turner’s first film in 1937 for Warner Brothers was They Won’t Forget. The title proved prophetic for Lana Turner’s Hollywood career. By 1938 Lana Turner was a sex symbol who went on to make over 50 glamorous films, most of them at M-G-M. Lana Turner was only 16 years old when she played her debut five-minute part that at one point sees her strut across the screen in a tight-fitting sweater and cocked beret for about 20 seconds. Her image created such a stir among movie-going audiences that gossip columnist Walter Winchell coined the term “America’s Sweater Sweetheart” for Lana Turner because of her now-classic film appearance. Over the next 20 years, a bevy of Hollywood actresses would wear tight sweaters over specialty bras that emphasized their bust line in the hope of possibly sparking for themselves another Lana Turner movie career success story.

Lana Turner became one of Hollywood’s biggest stars.

The New Harlow?

Originally groomed to be a new Harlow, Lana followed this sex-bomb course in full force when in 1941 the studio dyed her hair white blonde for Ziegfeld Girl, where she co-starred with Judy Garland and Hedy Lamarr and stole the show. 

Hungarian-born photographer László Willinger (1909 – 1989) started his professional career in Vienna, Austria. He left Europe for America in 1937 where he joined M-G-M that same year. Soon after, he made this lush shot of 18-year-old Lana Turner in a silky green dress seated on a red divan (or chair) with her head turned and looking to one side with slightly bloodshot eyes.

Willinger’s color portrait of red-headed Lana Turner emphasizes the sensuality of her personality manifested in her full red sensuous lips and painted nails. In 1944, László Willinger left MGM and established his own photography studio in Hollywood. For the next 40 years he successfully practiced his craft.

About her own reputedly rowdy personal life in those M-G-M years, Lana Turner later remarked: “My plan was to have one husband and seven children, but it turned out the other way…” 

Lana Turner passed away on June 29, 1995. She was 74 years old.

SOURCES:

DIETRICH – “Miss Dietrich to Receive Medal,” The New York Times, November 18, 1947;
https://ladailymirror.com/2013/11/04/mary-mallory-hollywood-heights-mdash-a-l-whitey-schafer-simplifies-portraits/;
http://vintagemoviestarphotos.blogspot.com/2014/11/a-l-whitey-schafer.html;
They Had Faces Then. Annabella to Zorina: The Superstars, Stars and Starlets of the 1930’s, John D. Springer and Jack D. Hamilton, Citadel Press, Secaucus, New Jersey, 1974.
Hollywood Color Portraits, John Kobal, William Morrow and Company. Inc., New York, 1981.
https://www.aenigma-images.com/2017/04/a-l-whitey-schafer/

TAYLOR -http://tatteredandlostephemera.blogspot.com/2009/06/who-is-hymie-fink.html;
http://archives.chicagotribune.com/1956/09/29/page/22/article/diana-dors-isnt-homesick-shes-set-for-film-in-britain;
Hollywood Color Portraits, John Kobal, William Morrow and Company. Inc., New York, 1981.

TURNER – Hollywood Color Portraits, John Kobal, William Morrow and Company. Inc., New York, 1981.
Lana Turner interview with Phil Donahue, 1982 – https://www.youtube.com/watch?v=uhu6_V7pNL0
“Hollywood Photographer Dies,” The Hour, Associated Press, August 9, 1989 – https://news.google.com/newspapers nid=1916&dat=19890814&id=azIiAAAAIBAJ&sjid=uXQFAAAAIBAJ&pg=1804,2177679