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History of the BEE GEES’ How Deep is Your Love. A First Hit for the 1977 film, “Saturday Night Fever,” still defines the Disco Age.

FEATURE image: “Bee Gees Monument unveiled tomorrow-1=” by Sheba_Also 43,000 photos is licensed under CC BY-SA 2.0

By John P. Walsh

How Deep Is Your Love (1977) by the Bee Gees ranks number 375 on Rolling Stone’s list of the 500 Greatest Songs of All Time.¹ It sits between White Room (1968) by Cream and Unchained Melody (1965) by The Righteous Brothers. Barry Gibb, the lone surviving Bee Gee today, reportedly said that How Deep Is Your Love is his favorite Bee Gees song.² In 2011 it was voted in a TV poll as the UK’s favorite.³ Recorded in the spring of 1977 in anticipation of the album and film Saturday Night Fever to be released later that year— How Deep Is Your Love was released in the U.S. as a single in September 1977. Three months later, after the smash-hit film Saturday Night Fever starring John Travolta was released, How Deep Is Your Love became the number one song in the U.S. on Christmas Eve 1977 and stayed in the top spot for three weeks. Although the song had started on the charts in October 1977, when it reached number one it stayed in the top 10 for four months until April 1978 which, at that time, set a longevity record. There are two official music videos for How Deep Is Your Love featuring the Bee Gees.⁴

Fig. 1. There are two official music videos performed by the Bee Gees of How Deep is Your Love. The music of the Bee Gees (left to right: Robin, Barry, and Maurice Gibb) and the 1977 film Saturday Night Fever starring John Travolta breathed fire into the disco music craze and helped define the disco era in the late 1970’s.

Fig 2. A huge international pop music hit starting in late 1977, How Deep is Your Love written and performed by the Bee Gees made its way into the Saturday Night Fever: The Original Movie Sound Track album that went Platinum on January 3, 1978 and was certified 16x Multi-Platinum on November 16, 2017. It remains one of the top ten-selling albums of all time.

When the Bee Gees were asked by film producer Robert Stigwood to provide five songs for a film tentatively titled Tribal Rites of the New Saturday Night based on the 1975 New York magazine fiction article about the urban disco scene, they didn’t want to compose music specifically for a film (although Barry did write the title song for Stigwood’s follow-up picture, Grease). It didn’t help that the Bee Gees were given neither a script nor hardly told what the movie plot was about. They offered Stigwood, their longtime manager, songs that they were already working on, namely, Stayin’ Alive, Night Fever, If I Can’t Have You (later sung by Yvonne Elliman), More Than A Woman, and How Deep is Your Love.⁵ At one early screening with John Travolta and director John Badham, among others, the Bee Gees were pleased though a little surprised when they saw for the first time scenes of the re-titled Saturday Night Fever with their music and lyrics to back it up. Although the music soundtrack at this juncture was demo cuts, the songs they wrote and performed meshed perfectly with the film’s scenes about which they had never been told very much. To be added to their astonishment—as much as anyone else’s there attending that rough cut – is that the Bee Gees had no idea they had embarked on a motion picture that would soon prove to be a milestone in film history. Saturday Night Fever would perfectly capture a moment in time and forever define the disco age.

Fig. 3. John Travolta attended the London premiere of Saturday Night Fever on March 22, 1978 with Kay Edwards.

Following its world premiere in Hollywood on December 7, 1977, Saturday Night Fever became an enormous success. It became Chicago film critic Gene Siskel’s favorite film—soon after, Siskel famously bought Tony Manero’s white suit at a charity auction in 1978 for $2,000. Colleague and friend Roger Ebert writing shortly after Siskel’s death in 1999, believed that Saturday Night Fever had struck Siskel mainly on an emotional level but also for its themes that had impressed him. Other influential film critics were similarly praiseworthy of the film’s subject matter. At the 50th Academy Awards on April 3, 1978 Saturday Night Fever had received only one nomination (John Travolta for Best Actor) in a year where Annie Hall and Star Wars dominated the competition. Robin Gibb later observed that Saturday Night Fever was made on a very low budget, released very late in the year and had no expensive promotion. The film’s word of mouth was good, however, which even included its star, John Travolta, who at its world premiere at then-Mann’s Chinese Theatre admitted watching the musical film on the big screen as if seeing a fantasy or dream for the first time.⁶

Fig. 4. Tony Manero’s shiny white polyester suit — bought off the rack in Brooklyn for the making of the film Saturday Night Fever— has been compared to a symbol of aspiration and hope in what is otherwise a dark movie.

Conceptually the song How Deep Is Your Love materialized when, working with collaborator Blue Weaver, Barry Gibb’s instigating question to him in beginning to compose it was: “What is the most beautiful chord that you know?”⁷ It was the first song the Bee Gees composed that ended up in the film Saturday Night Fever. After a creative hit-and-miss process at the piano – and further collaboration with Robin and Maurice – the song was put together in the middle of night in about four hours at the Château d’Hérouville studios in France.⁸ This was part of the Bee Gees’ usual working process – arriving into the studio around three o’clock in the afternoon and ending their workday near or after midnight – resulting in all of the film’s songs written quickly, with the lyrics finished later and the disco music taking longer.⁹ The Bee Gees’ falsetto singing had always been emotional, and it was often by way of collaborating with industry talent— other musicians, producers, and the like—that their music developed in new directions. By the time How Deep is Your Love came about, the Bee Gees had a reputation for being open to suggestions, including the personally emotional piano chords Blue Weaver offered the Brothers Gibb that night.¹⁰The creation of How Deep Is Your Love followed a course already prevalent in the Bee Gees musical career – an attitude of collaboration and creativity in the studio that allowed ideas to be suggested, and beautiful melodies to quickly emerge as the result. Though How Deep is Your Love was composed in one sitting, its arrangement and production took longer which changed some of the song’s original structure. The title was based on what the Bee Gees simply maintained was the variety of connections listeners could make with the phrase How Deep is Your Love – and so providing the song with further universal appeal.¹¹Following the film’s U.S. release by Paramount Pictures on December 14, 1977 Maurice Gibb believed its ultimate success was the combination of its phenomenal 23-year-old star John Travolta and the music soundtrack whose album had already been certified Gold on November 22, 1977 and certified Platinum on January 3, 1978. The combination of star power and music – along with stunning word of mouth and critical acclaim – created a record-shattering synergy for both film and soundtrack album featuring Bee Gees songs making the cultural impact of Saturday Night Fever swift and enduring. How Deep is Your Love remains one of the most anthologized love songs of the modern era. As recently as November 16, 2017, the soundtrack album was certified 16x Multi-Platinum.¹²

Fig. 5. John Travolta in the 1970’s. Playing 19-year-old Tony Manero in Saturday Night Fever about a teen with a good job at the local hardware store in Brooklyn who is trying to dance his way to a better life. His performance earned the 23-year-old Travolta an Academy Award nomination for Best Actor in a Leading Role that year.

Fig. 6. Brooklyn-born Donna Pescow was a newcomer and played Annette in Saturday Night Fever. Annette is Tony’s former dance partner and would-be girlfriend.

Fig 7. Like Donna Pescow and others in the cast of Saturday Night Fever, co-star Karen Lynn Gorney, John Travolta’s love interest in the film, was a newcomer. Even Travolta who had a swelling fan base because of his ongoing role as Vinnie Barbarino in the popular late 1970’s TV sitcom Welcome Back, Kotter, was not seen as a dance man. Hungry to take his acting career to the next level, Travolta’s energetic dance scenes had critics praising his performance as among the best ever filmed.

Fig. 8. A two-minute scene of disco dancing by John Travolta thrust his energetic performance and the new star into the annals of film history. (This is a portrayal of Travolta as Danny Zuko in Grease.)

Fig. 9. “Robert Stigwood explained to the Bee Gees about this young guy, who every weekend blows his wages at a disco in Brooklyn. He’s got a really truly Catholic family, and he’s got a good job, but he blows his wages every Saturday night. He has his mates with him. Then he comes back and starts the week again, and this goes on every Saturday night. But it’s just this one Saturday night that’s filmed. So that’s what we knew (about a film we were writing music for) except it was John Travolta playing the part…” Maurice Gibb in Bee Gees: The Authorized Biography.

How Deep Is Your Love quickly reached number one internationally in countries such as Canada, Brazil, Finland, Chile, and France. In the Bee Gees’ native England it reached number three which delighted the newly–resurgent pop music group in that they had a top five hit in a country that by the mid-to-late 1970’s saw Punk and New wave rock in the ascendant.¹³ The Sex Pistols’ God Save the Queen, also released in 1977, was banned on the airwaves by the BBC for its “gross bad taste” though today it ranks number 175 on the Rolling Stone’s Greatest Hits list – 200 slots higher than the Bee Gees’ disco ballad, How Deep Is Your Love. How Deep Is Your Love and the Saturday Night Fever album provided superstar momentum for the Bee Gees’ next projects, but like their careers up to that point, the English-Australian pop-rock band simply continued their readiness to create music. In The Ultimate Biography of the Bee Gees, Blue Weaver understood the Bee Gees’ success during this period was not due to their “virtuosity,” although their falsetto vocals were “brilliant,” but their collaborative working method which they pursued until reaching the final product that satisfied them – and clearly satisfied some part of the rest of the world.¹⁴

Fig. 10. In 1978 Barry Gibb observed about Robin and Maurice and himself: “When we were kids, we’d sit on each other’s beds all night and plan our careers. We decided that when we got to the top, we’d have our own office. We wanted to get to a point where we wouldn’t have to ever work again so we could sit back and enjoy everything we had accomplished. A few years ago that seemed forever out of reach. Sometimes I think I’m living that dream now. We’ve never really made it before. If this is indeed the top, then it’s better than what we imagined. It’s a lot of fun.” Bee Gees: The Authorized Biography. As the Bee Gees, Barry and twins Maurice and Robin became one of the world’s biggest bands ever selling more than 220 million records. In 1997 they were inducted into the Rock and Roll Hall of Fame. Maurice died in 2003 and Robin in 2012. In 2017 Barry told CBS News: “So when I lost them all, I didn’t know whether I wanted to go on. ”

Fig. 11. 70-year-old Barry Gibb was honored during Stayin’ Alive: A Grammy Salute to the Music of the Bee Gees in April 2017 where he got up on stage to close out the show to perform a few hit songs.

During one visit to the hospital while Robin was in a coma, Barry sang a song that he had written for him called The End Of The Rainbow.

Fig. 12.

NOTES:

Rolling Stones List – https://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407 – Retrieved January 19, 2018.
Barry Gibb’s favorite song – The Bee Gees: 35 Years of Music, Billboard: 27. March 24, 2001. – Retrieved September 13, 2017.
TV poll – https://web.archive.org/web/20121019120053/http://www.itv.com/beegees/ – Retrieved September 13, 2017.
Song’s recording and release dates – Bee Gees Anthology (songbook) by the Bee Gees, Hal Leonard (1991) and Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.116.
Didn’t want to compose music for a film – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 411; Hardly told the film plot – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.110.
Surprised music with unseen film meshed – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.111; Ebert on Siskel’s favorite film – https://www.rogerebert.com/reviews/great-movie-saturday-night-fever-1977 – Retrieved January 24, 2018; other critics’ praise of film- see Pauline Kael, “Nirvana,” The New Yorker, December 26, 1977, pp. 59-60; film low budget, released late- The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 411. Regarding the white suit that had been bought off the rack in Brooklyn for the film, its symbolism in Saturday Night Fever has been postulated. Professor Deborah Nadoolman Landis, a designer and historian of film costume stated that the white suit was a symbol of aspiration and hope in an otherwise “dark little movie” – see https://www.theguardian.com/artanddesign/2012/aug/06/john-travolta-white-suit-v-and-a – retrieved January 25, 2018.
Song’s musical concept – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 411-412.
First song composed for Saturday Night Fever, Château d’Hérouville – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.109.
Songs written quickly – Ibid., p.109; lyrics later – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, p. 415.
Open to suggestions – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.107. emotional piano chords – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, p. 411-12.
song composing, arrangement, and production – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 409 and 412. Title chose Ibid. p. 412.
Movie’s ultimate success – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.112. Costing $3.5 million to make, Saturday Night Fever earned an impressive $237.1 million –see “Saturday Night Fever, Box Office Information”. Box Office Mojo – retrieved May 26, 2014. Soundtrack album certified God and Platinum -http://www.beegees-world.com/bio_gplat.html -Retrieved February 1 , 2018. certified 16x Multi-Platinum on November 16, 2017 – see https://www.riaa.com/gold-platinum/- retrieved January 24, 2018.
Number one hit internationally – “Songs Written by the Gibb Family on the International Charts – Part 3”(PDF). http://www.brothersgibb.org/download/page-3.pdf – Retrieved January 24, 2018; number 3 in Britain – The Ultimate Biography of the Bee Gees: Tales of the Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, p. 421.
Continued with their readiness to work – The Ultimate Biography of the Bee Gees: Tales of the Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 467.©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Fig. 1- “Bee Gees Monument unveiled tomorrow-1=” by Sheba_Also 43,000 photos is licensed under CC BY-SA 2.0

Fig. 2- “Saturday Night Fever Record Sleeve Coptic Journal” by Pressbound is licensed under CC BY-NC-ND 2.0

Fig. 3- “Los Angeles 2010” by Martin Wippel is licensed under CC BY-NC-SA 2.0

Fig. 4 – “#mcm 70’s John Travolta! “tell me about it, stud.”” by Stephen O is licensed under CC BY-SA 2.0

Fig. 5 – “fonts from the flea market” by Buro Destruct is licensed under CC BY-NC-SA 2.0

Fig. 6 – “TV Guide #1367” by trainman74 is licensed under CC BY-NC 2.0

Fig. 7 – personal collection.

Fig. 8 – “John Travolta (as Danny Zuko of “Grease”) figure at Madame Tussauds Hollywood” by Luke Rauscher is licensed under CC BY 2.0

Fig. 9 – “Redcliffe Bee Gees Way after opening-39=” by Sheba_Also 43,000 photos is licensed under CC BY-SA 2.0

Fig. 10 – “Redcliffe Bee Gees Way after opening-09=” by Sheba_Also 44,000+ photos is licensed under CC BY-SA 2.0

Fig. 11 – “Barry Gibb (1)” by tomasbinanti is licensed under CC0 1.0

Fig. 12 – “Los Angeles 2010” by Martin Wippel is licensed under CC BY-NC-SA 2.0

Text©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

St. Francis of Assisi and the leper depicted in “The Flowers of St. Francis” (1950) by Italian filmmaker ROBERTO ROSSELLINI (1906-1977).

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FEATURE Image: Roberto Rossellini and Ingrid Bergman – “Roberto Rossellini and Ingrid Bergman” by classic film scans is marked with CC BY 2.0.

By John P. Walsh

Come la notte Francesco pregando nella selva incontro il lebbroso —or, in English, “How St. Francis praying one night meets a leper.”

Starting at 38:15, the dramatic five-minute scene in the middle of Roberto Rossellini’s 1950 Italian film Francesco, giullare di Dio (Francis, God’s Jester or The Flowers of St. Francis) shows the medieval St. Francis of Assisi (c. 1181-1226) seeking out and embracing the time-honored social outcast—a leper.

Following their embrace—an encounter Francis up to this point in his life had seriously avoided—the saint falls to the ground and, in tears he cries out: “My God. My Lord and my all! O great God!”

Is the film scene historically accurate?

While the event of the embrace is historically accurate, it is dramatized in Rossellini’s film after Francis’s brotherhood is established. In fact, it occurred at the start of the Italian saint’s conversion. This is an important distinction since the embrace was most significant for St. Francis. It could even be argued that without it, there would be no St. Francis of Assisi at all.

In Francis’s own Testament written in 1225—one year before his death at 44 or 45 years old—the saint stated directly that his embrace of the leper became the cause of his conversion.

For a rich young man such as Francis seeking glory in military arms, he naturally spurned the contagion of leprosy and diligently avoided lepers. As Francis put it, he “exercised mercy” to the leper as Francis bridged his religious doubt with trust by embracing Assisi’s despised.

In that way, the leper— a common sight throughout medieval Europe and one that readily filled the lighthearted Francis with horror—became the astonishing means for the saint’s conversion of faith.

Special order of knights founded by pope cared for lepers in Italy.

In the thirteenth century in Europe, lepers by law had to live apart from the rest of society owing to their contagious infectious disease.

From at least the seventh century in Italy going forward there were special orders of knights who took care of lepers.

In the time period that Rossellini’s poignant film scene is set— it is either 1205 or 1206—there existed in Europe tens of thousands of these church-run leper “hospitals.” One such leper hospital was only a short walk outside Assisi’s town walls. Called San Salvatore delle Pareti, the leper hospital near Assisi that began to intrigue a young Francis is today a farm field.

Before his famous encounter of embracing the leper, Francis —then around 24 years old—had to work up to the crucial moment of embracing a leper gradually.

After Francis gave up his several quests to be a soldier, he returned to Assisi disappointed and disenchanted. Though he found refuge in the embrace of family and childhood friends, the same impulses that led Francis to abandon a military career even before it started, now prompted him to walk beyond the comforts of Assisi’s walls onto the road that led to the leper hospital.

Scene of the leper and St. Francis of Assisi.

Young Francis visits the leper hospital — and it changes his life.

Near the hospital, Francis interacted very tentatively, first with those caring for lepers —a charitable activity instituted by Pope Gregory the Great (540-604 CE)—and then at times with the lepers themselves.

To start, it was the sickening smell peculiar to the leper hospital wafting into Francis’s nostrils that made him flee.

But as his visits continued Francis—who by now was living as a hermit— journied to the leper hospital to leave them a charitable gift. After leaving it on the roadside, Francis vanished as bell-clanging lepers appeared.

It took Francis many more visits to the leper hospital as well as, in solitude, dwelling on his own thoughts and prayers to finally reach what he believed was God’s answer for him.

As clearly dramatized in Roberto Rossellini’s wonderful film, Francis discovered a deeper courage and confidence in himself—and in the same moment a supernatural faith— when along the road to the leper hospital he stepped up to leave for the leper the charitable embrace of one of the rich sons of Assisi.

Yet, following that encounter, Francis realized that the leper had given him a gift also.

After that Francis was free to profoundly pursue whatever track God called him to run. Francis could now be called to renounce the world’s riches. He married his “Lady Poverty” in their joyous mystical marriage so that even today, in the 21st century, poverty remains a major Franciscan charism. Francis and Lady Poverty have been married for over 800 years.

Following a lifetime spent in heroic Franciscan mendicancy, this world-famous Umbrian saint “Francesco” proclaimed to his Franciscan family and the world that it was at that exact moment when he embraced the leper—and the leper embraced him—that a life in and for God truly started.

St. Francis of Assisi has the indelible mark of the leper. He conquered fear and embraced the other in love no matter how godforsaken. Done in the context of divine trust and love, that faith-filled action set each man free.

SOURCE: St Francis of Assisi: A Biography by Johannes Jørgensen (1912). Translated from the Danish with the author’s sanction by T. O’Conor Sloane, Image books, 1955.

Sassetta (c.1392-c.1451), St. Francis in Ecstasy, back of the Sansepolcro altarpiece, 1437-44, Panel, 80 3/4 x 48 inches. Villa I Tatti, Florence.

MARLENE DIETRICH, ELIZABETH TAYLOR, LANA TURNER: History of Hollywood Publicity Glamour Portraits in the 1930’s and 1940’s.

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FEATURE image: Marlene Dietrich. Paramount, 1947. Photograph by A.L. “Whitey” Schafer. The actress was appearing in Golden Earrings, a 1947 romantic spy film made by Paramount Pictures and starring Ray Milland and Marlene Dietrich.*

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.

1940’s blondes

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

It was also in 1947—the same year that the photograph was made— that Dietrich received the Medal of Freedom. Dietrich called it her life’s proudest achievement.

While Golden Earrings was a decent film, its main purpose was to provide the actress with a job. It led into her next project—the 1948 American romantic comedy A Foreign Affair directed by Billy Wilder. That film made Dietrich 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 film’s song, “Golden Earrings”, with a tune by Victor Young and lyrics by Ray Evans and Jay was sung in the movie by Murvyn Vye. It was a hit recording in 1947-48 by Peggy Lee. See- https://digital.library.unt.edu/ark:/67531/metadc1633213/m1/#track/4

“Whitey” Schafer wrote an important book on glamour photography

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.

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.”

In 1941 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.

From Paramount Pictures, A Foreign Affair is a 1948 American romantic comedy-drama film directed by Billy Wilder. The film made Marlene Dietrich once again a top star in the post-war years.

ELIZABETH TAYLOR.

Though still a teenager, Elizabeth Taylor (1932-2011) in 1949 when the publicity still photograph was made, was celebrated as the new generation’s great beauty. In 1942, at 10 years old, Elizabeth made her film debut and her life and beauty blossomed over the decade in front of the cameras. The photograph captures Taylor after she made a little over a dozen films. In 1950 she co-starred in M-G-M’s comedy film, Father of the Bride. Directed by Vincente Minnelli, Taylor played Kay, the daughter of Stanley T. Banks (Spencer Tracy) who is trying to cope with the preparations for her wedding day.

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.”

Elizabeth Taylor co-starred in Father of the Bride, M-G-M’s 1950 comedy film directed by Vincente Minnelli. Father of the Bride was nominated for Academy Awards for Best Actor in a Leading Role, Best Picture, and Best Writing, Screenplay.

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).

“America’s 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 five-minute debut part that has her at one point strut across the screen in a tight-fitting sweater and cocked beret for about 20 seconds.

Lana’s image created such a stir among movie-going audiences that gossip columnist Walter Winchell coined her “America’s Sweater Sweetheart” because of her now-classic screen appearance.

Over the next 20 years, a bevy of Hollywood actresses would wear tight sweaters over specialty bras that emphasized the bust line in the hope of sparking a Lana Turner movie success story for themselves.

New Jean Harlow?

Lana was originally being groomed to be the new Harlow. She followed the sex-bomb script in full force in 1941 when the studio dyed her hair whitish blonde for Ziegfeld Girl. Lana co-starred with Judy Garland and Hedy Lamarr and stole the show.

László Willinger

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…”

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/
PHOTO CREDIT – *The photograph copyright may be believed to belong to the distributor of the film, Paramount, the publisher of the film or the graphic artist. The copy is of sufficient resolution for commentary and identification but lower resolution than the original photograph. Copies made from it will be of inferior quality, unsuitable as counterfeit artwork, pirate versions or for uses that would compete with the commercial purpose of the original artwork. The image is used for identification in the context of critical commentary of the work, product or service for which it serves as poster art. It makes a significant contribution to the user’s understanding of the article, which could not practically be conveyed by words alone. As this is a publicity photo (star headshot) taken to promote an actress, these have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary. (See- Eve Light Honthaner, film production expert, in The Complete Film Production Handbook, Focal Press, 2001 p. 211. Gerald Mast, Further, film industry author, in Film Study and the Copyright Law (1989) p. 87, writes: “According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film’s copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible.” Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference with cinema scholars and editors, that they “expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements … [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs.”(“Fair Usage Publication of Film Stills,” Kristin Thompson, Society for Cinema and Media Studies.)

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
PHOTO CREDIT: *The photograph copyright may be believed to belong to the distributor of the film, Metro-Goldwyn-Mayer, the publisher of the film or the graphic artist. The copy is of sufficient resolution for commentary and identification but lower resolution than the original photograph. Copies made from it will be of inferior quality, unsuitable as counterfeit artwork, pirate versions or for uses that would compete with the commercial purpose of the original artwork. The image is used for identification in the context of critical commentary of the work, product or service for which it serves as poster art. It makes a significant contribution to the user’s understanding of the article, which could not practically be conveyed by words alone. As this is a publicity photo (star headshot) taken to promote an actress, these have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary. (See- Eve Light Honthaner, film production expert, in The Complete Film Production Handbook, Focal Press, 2001 p. 211. Gerald Mast, Further, film industry author, in Film Study and the Copyright Law (1989) p. 87, writes: “According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film’s copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible.” Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference with cinema scholars and editors, that they “expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements … [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs.”(“Fair Usage Publication of Film Stills,” Kristin Thompson, Society for Cinema and Media Studies.)

Hollywood Princess: GRACE KELLY (1929-1982), Modeling, Theater, and Film Career, 1946-1956.

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FEATURE image: “Grace Kelly 1929 – 1982” by oneredsf1 is marked with CC BY-NC-SA 2.0.

Philadelphia-born Grace Kelly (1929-1982) had a short but dazzling film career in Hollywood. Called the “Greatest Screen Presence in Film,”¹ passionate and dramatically talented Grace Kelly was Alfred Hitchcock’s favorite actress when she starred in three of his classic films of the 1950’s: Dial M For Murder (1954), Rear Window (1954) and To Catch a Thief (1955).

After Grace was discovered in 1951 by Gary Cooper who said that Grace was “different from all these actresses we’ve been seeing so much of”²—and cast in High Noon (1951) as Cooper’s movie wife—Grace Kelly’s incomparable charm and allure swiftly impressed Hollywood and the world.

From September 1951 to March 1956 Grace Kelly’s star blazed across the silver screen in eleven major motion pictures for five different Hollywood studios. Grace was at the height of her career when she exited Hollywood to get married to the prince of Monaco in Europe, in April 1956.

**Grace Kelly in 1954. Kelly was one of the 1950’s fashion icons.** PHOTO credit: “Grace Kelly, 1954” by thefoxling is marked with CC BY-NC-SA 2.0.

Lloyd Bridges, Katy Jurado, and Gary Cooper co-starred with Grace Kelly in High Noon. Gary Cooper took credit for discovering Grace. Cooper was impressed with her acting talent, good looks, work ethic, and professionalism.

Grace Kelly and her stand-in Dorothy Towne on the set of High Noon (1952).

With 2 Hollywood films under her belt, Grace Kelly was nominated for her first Oscar for Best Supporting Actress in John Ford’s Mogambo (1953). Kelly plays Linda Nordley who arrives at the camp with her husband and soon has an affair with the camp’s big game hunter, Marswell (Clark Gable) that leads to a fit of jealous rage.

Following High Noon for United Artists, Grace’s performance for M-G-M on John Ford’s Mogambo (1953) led to her first Academy Award nomination as Best Supporting Actress. This was a coup for Grace Kelly who had made two films and was only one of many actresses considered for the role. Neither was Grace the studio’s first choice for the part of Linda Nordley, but English actress Deborah Kerr. It was mostly thanks to fellow Irish-American John Ford that worked to get fellow half-Irish Kelly the role – and Grace got to see the continent of Africa, “all expenses paid.” Always looking ahead, Kelly did Mogambo for many reasons not least of which was its overseas international connection.

Location filming in Africa began in November 1952 and continued until the end of January 1953. It was a major production, and out of the nervous excitement that seemed to imbue the project for the actors and crew, there shortly developed a sense of camaraderie and confidence. Grace contributed to the exciting professional spirit and a major outcome was that the Technicolor film from M-G-M was successful both critically and at the box office. It also raised the career prospects of its principals—namely, director John Ford, and Clark Gable, Ava Gardner, and newcomer Grace Kelly.³

**Ava Gardner and Grace Kelly in Africa during the filming of Mogambo, M-G-M’s 1953 Technicolor adventure/romantic film directed by John Ford.**

Clark Gable repeated the role of big-game hunter Victor Marswell that he played in Red Dust, M-G-M’s 1932 film co-starring Jean Harlow and Mary Astor. In the 1953 film, Marswell’s competing love interests were now played by Ava Gardner as Eloise Kelly and Grace Kelly as Linda Nordley. Grace Kelly was dressed by Helen Rose (1904-1985) costumer designer at M-G-M, for Mogambo. She wore a memorable well-cut pink shirt and, during one evening dinner, a flower dress which inspired its imitation among movie-goers. In 1956 Grace would be dressed again by Helen Rose for The Swan, though it is by being dressed by older and prolific costume designer Edith Head (1897-1981) that Grace Kelly became a fashion film icon.

From left: hairstylist Annabella Levy, actor Elizabeth Taylor and costume designer Helen Rose in 1954. Helen Rose did most of her costume design work at M-G-M which was also Grace Kelly’s home studio. Helen Rose dressed Grace in Mogambo (1953) and The Swan (1956). Public Domain.
PD-US (licensing information : [1]) – no copyright notice (see source). https://en.wikipedia.org/wiki/Helen_Rose#/media/File:Levy-Taylor-Rose_in_Rhapsody.jpg

GRACE BEGINS HER FASHION COLLABORATION WITH ACADEMY-AWARD-WINNING COSTUME DESIGNER EDITH HEAD IN 1953.

**By 1953 Grace Kelly was becoming as well-known as Audrey Hepburn for her fashion sense and costume designer Edith Head found it a joy to work with her.**
“Grace Kelly” by twm1340 is marked with CC BY-SA 2.0.

Grace Kelly in wardrobe by Edith Head for The Bridges of Toko-Ri. Filming began in January 1954.

In July 1953 Grace began work on Dial M For Murder for Warner Brothers where she met Alfred Hitchcock who became a cinematic mentor. Soon after, The Bridges at Toko-Ri (1954) at Paramount Pictures began Grace’s ground-breaking multi-film collaboration with Academy-Award winning costume designer Edith Head. In the 1930’s, costume designer Edith Head leaned liberal in her costume designs. By the 1950’s, when she worked with Grace, Head’s fashion designs became more conservative. Edith Head and Grace Kelly became lifelong friends. Even after Grace left Hollywood and became Princess of Monaco, Edith Head, who had a very busy schedule as a prolific and successful costume designer in Hollywood – a record eight Academy Awards for Best Costume Design between 1949 and 1973 – visited Grace in Monaco on vacations right up to the time of Kelly’s untimely death at 52 years old on September 14, 1982 following a car accident.

In 1952 Grace Kelly played Amy Fowler Kane in Fred Zinnemann’s High Noon. In 1953 Kelly received an Oscar nomination for Best Supporting Actress for her performance as Linda Nordley, one side of a love triangle, in John Ford’s Mogambo with Hollywood stars Clark Gable and Ava Gardner. Grace had made her first of three films with Alfred Hitchcock as Margot Mary Wendice in Dial M For Murder (released in May 1954). So, when filming started in January 1954 for The Bridges at Toko-Ri, Grace Kelly, who just turned 24 years old, had already made remarkable films.

The year 1954 proved to be a banner year for Grace Kelly’s scintillating Hollywood career. In August/September 1954 Alfred Hitchcock’s Rear Window was released. The part of Lisa Carol Fremont solidified Kelly’s image as a fashion icon. Other films released in 1954 starring Grace Kelly were Green Fire with Stewart Granger, The Bridges at Toko-Ri with William Holden and The Country Girl with Bing Crosby – all December 1954 releases. In the dressed-down role of Georgie Elgin Grace Kelly’s performance brought her that year’s Academy Award for Best Actress in a Leading Role in March 1955. In May 1955 Grace Kelly met Prince Rainier III (1923-2005) of Monaco and the couple were engaged by the end of the year.

In The Bridges of Toko-Ri Grace played the small but pivotal role of Nancy Brubaker, wife of Lt. Harry Brubaker (William Holden). Kelley wears a sleeveless turtleneck and tan pants in her dressing room on set in 1954. PHOTO credit: “Grace Kelly 1929 – 1982” by oneredsf1 is marked with CC BY-NC-SA 2.0

**GRACE KELLY APPEARED in 5 FILMS RELEASED IN 1954, INCLUDING HER ACADEMY-AWARD-WINNING BEST ACTRESS PERFORMANCE IN THE COUNTRY GIRL.** “Grace Kelly 1929 – 1982” by oneredsf1 is marked with CC BY-NC-SA 2.0.

**On the set of Green Fire in 1953 Grace Kelly wears a belted beige dress and matching sunhat.** PHOTO credit: “Grace Kelly 1929 – 1982” by oneredsf1 is marked with CC BY-NC-SA 2.0.

Grace Kelly was the reason the box office thrived for Green Fire, a drama about emerald miners in South America co-starring Stewart Granger. It was produced in Cinemascope and Eastman Color. The film was panned by many.

Kelly had been working constantly since 1951. She made the entertaining color action feature The Bridges at Toko-Ri for Paramount Pictures. The film is significant for the fact that it started the collaboration of Grace Kelly with costume designer Edith Head as well as was a serious film dealing with the Korean war.

Before meeting Prince Rainier III in May 1955 upon leading the American delegation that year to the Cannes Film Festival and making the Hitchcock thriller, To Catch a Thief, co-starring Cary Grant, Grace had her share of romantic involvements, including during the making of The Bridges at Toko-Ri.

Grace Kelly and William Holden play the husband-and-wife lead roles in Paramount Pictures’ 1954 war film, The Bridges at Toko-Ri. During filming, Grace Kelly fell madly in love with her Bill Holden, her co-star, who was married and 11 years older.

PHOTO image: “Grace Kelly 1929 – 1982” by oneredsf1 is marked with CC BY-NC-SA 2.0.

Off screen Grace Kelly had fallen madly in love with co-star William Holden. Holden was 11 years older than Grace Kelly—and married. But they had an affair throughout the making of the picture. The electricity of that affair is evident in the love scenes where they played movie husband and wife.

In The Bridges at Toko-Ri Grace Kelly is Nancy Brubaker, the young wife of Navy pilot Lieutenant Harry Brubaker (Holden). A husband and father, Brubaker never wanted to be a flyer in the Navy and still wants out. Yet he accepts a very risky and dangerous mission during the Korean War and is killed in action. The commander asks—is it really a good mission if lives of good men are lost? The film is based on a novel by James Michener who recounted actual missions he covered as a correspondent on U.S. air craft carriers that were flying bombing missions on railroad bridges in North Korea in 1951 and 1952.

In The Bridges at Toko-Ri Grace Kelly played Nancy Brubaker, the wife of a U.S. Navy pilot (William Holden) who is killed in action in the Korean War. Grace is radiant in every scene in which she appears.

Though Kelly has a relatively small part in the war film, she is radiant in every scene. This is the first film where Grace Kelly appears in bed. Directed by prolific Marc Robson, The Bridges at Toko-Ri was one of the biggest hits of his career. Lyn Murray composed the musical score. Murray started in Hollywood in 1950 doing vocal arrangements for Walt Disney but soon was writing music for feature films throughout the 1950’s and 1960’s.

The film is a noisy and straightforward tale of one small American family in war-time. It combines humor notably provided by Mickey Rooney as CPO NAP Mike Forney that soon collides with war’s high-stakes mortal danger whose scenes look to presage Vietnam. The film’s cooperation with the U.S. Navy led to realistic and spectacular aerial and carrier action scenes that, in 1956, won the Academy Award for Best Special Effects.

Grace Kelly had a small but important role in The bridges at Toko-Ri, one of the best motion pictures made dealing with the Korean war. From Paramount Pictures and based on a book by James Michener, it was filmed in Technicolor and had the full cooperation of the U.S. Navy.

Holden as Airman Brubaker tenderly expresses his sense of loss when his fellow airmen Mike Forney and Nestor Gamidge (Earl Holliman) are whisked off to other navy assignments. Their entire job was to save the lives of airmen in battle—and had saved Brubaker’s – so that their sudden professional absence is personally and deeply felt.

This is a film of the mid 1950s with caring commanders who look and talk remarkably like Ike, then President of the United States and who had just ended the Korean action in July 1953. Chain smoking by nearly everyone in the cast appears to be de rigueur. Listening to navy radio Lieutenant Harry Brubaker is riveted hearing a broadcast from Chicago’s famous Chez Paree nightclub showcasing jazz trumpeter Henry Busse. The local flair and period cultural items add interest to the fine acting and timeless beauty of Grace Kelly along with the film’s fact-based war story and blockbuster action. Almost 70 years after its initial release, The Bridges at Toko-Ri continues to be a worthwhile entertainment.

“Grace Kelly” by manitou2121 is marked with CC BY 2.0

A stage play on film, the action in Dial M For Murder is limited to a few rooms about a tennis player (Ray Milland) who arranges to kill his wife (Grace Kelly) to inherit her money. Shot in WarnerColor, it co-starred a cast that included Robert Cummings.

On the set of Rear Window (1954).

FIXED rear window 001 — **In Rear Window released in September 1954, Grace Kelly received equal billing with co-star Jimmy Stewart and director Alfred Hitchcock.**

Grace refused other lucrative film offers to work again with Hitchcock, this time at Paramount Pictures, on Rear Window co-starring Jimmy Stewart. In this landmark mystery thriller film which came out in summer 1954, one of Hitchcock’s dramatic emphases for Grace Kelly’s film persona was to display her natural elegance and sex appeal—he was amused by her public image as an “Ice Queen”⁴—by having her costumed in an array of fabulous Edith-Head-designed lingerie, dresses, and pants. Growing up in Philadelphia Grace Kelly as an adolescent and teenager had modeled in local fashion shows but, by the middle 1950’s in her mid-twenties, she became an international fashion and style icon.

famous eau de nil suit work in Rear window

Edith Head’s famous eau de nil suit and matching hat for Grace Kelly in Rear Window (1954).

PHOTO credit (above): “Grace Kelly in Rear Window” by thefoxling is marked with CC BY-NC-SA 2.0.

**Edith-Head lingerie, dresses, and pants highlighted the differences in lifestyle between the character of Lisa played by Kelly and the photojournalist L.B. Jeffries played by Jimmy Stewart.**

In the scene where Kelly is first introduced in the film, Stewart awakes to a full close up of Lisa coming toward him for what may be cinema’s greatest kiss. The dress Lisa describes as “fresh from the Paris plane” offered a simple neckline to frame Grace’s face for the close-up, a fitted black bodice and a full skirt to mid-calf, among other accessories. The $1,100 price tag in 1954 that Lisa talks about is about $13,000 today. Hitchcock wanted the audience to know immediately that Lisa was no ordinary woman that had arrived to Jeff’s apartment.

**Studio publicity still of Grace Kelly for the film *Rear Window* (1954).** Public Domain.

“Grace Kelly in Rear Window” by thefoxling is marked with CC BY-NC-SA 2.0.

Action In Rear Window – like Dial M For Murder – was in a confined setting. In Alfred Hitchcock’s first picture for Paramount Pictures, the action was confined to one room with a hero (Jimmy Stewart) confined by a broken leg. Rear Window, which is about a photojournalist who sees strange goings-on as he watches people in the privacy of their apartments using a telephoto lens, was an artistically and financially suspenseful parlor drama that was hugely successful.

“Alfred Hitchcock, Grace Kelly, Jimmy Stewart (1)” by oneredsf1 is marked with CC BY-NC-SA 2.0.

“Grace Kelly 1929 – 1982” by oneredsf1 is marked with CC BY-NC-SA 2.0.

Never just a pretty face, Grace Kelly insisted in her studio contract that she be allowed regular breaks to be able to act in live theater.⁵ From childhood, Grace admired the art of the live stage and welcomed demanding theater and film roles that challenged and exhibited her acting range and abilities. This love of the theater was a big part of her motivation to seek the hardly glamorous but dramatically impressive role of Georgie Elgin in George Seaton’s The Country Girl (1954) for Paramount Pictures.

With co-stars Bing Crosby and William Holden, the film featured Grace playing Georgie, the long-suffering wife of an alcoholic actor struggling to resume his career (played by Crosby).

Grace Kelly studying the script during filming of George Seaton’s The Country Girl. The 1954 drama film received 7 Academy Award nominations and won two Oscars – including Grace Kelly as Best Actress.

The Country Girl features actors playing against type and revealing new facets of their acting talents. William Holden plays Bernie Dodd, a stage director, who takes a chance on Frank Elgin (Bing Crosby), a great star who has lost jobs because of his dipsomania. Dodd blames Elgin’s wife Georgie (Grace Kelly) but realizes that Frank Elgin would have crumbled without her. When Frank pulls himself together for an opening night triumph, Dodd proposes to Georgie and she must decide to leave with the handsome, hardworking stage director or stay with her troubled husband.

Grace Kelly portrait from the film “Rear Window” photographed by Virgil Apger, 1954.

At its release, the film was a hit and nominated for seven Academy Awards. On Wednesday, March 25, 1955, at the telecast of the 27th annual Academy Awards held at RKO Pantages Theatre, the third time the ceremony was televised nationally.⁶ The Country Girl won two Oscars, including one for Grace Kelly for Best Actress. At just 25 years old Grace Kelly—of the ambitious and hugely competitive Kellys of Philadelphia—had reached the highest echelon of cinema arts holding her profession’s gold-plated statuette.

Grace Kelly backstage after the 27th annual Academy Awards on March 25, 1955.

During the evening Grace won the Oscar for Best Actress for her dressed-down and dramatic role in The Country Girl.

27th Annual Academy Awards Bette Davis presenter, Marlon Brando and Grace Kelly

At the 27th Annual Academy Awards, presenter Bette Davis is joined by Marlon Brando and Grace Kelly, each holding their golden trophies for Best Actor and Best Actress.

In early 1954 Grace had flown to South America to make Green Fire (1954) for M-G-M with Stewart Granger. In May 1954 she was at the French Riviera to make her third film with Alfred Hitchcock: To Catch a Thief (1955) co-starring Cary Grant for Paramount Pictures.

Grace liked the Riviera. In April 1955 she traveled there again for the 8th annual Cannes Film Festival. It was during this early spring 1955 Mediterranean trip that Grace Kelly was first introduced to Prince Rainier III of Monaco.

Grace Kelly in a chiffon-draped gown by Edith Head in To Catch a Thief (1955).

Sitting in a director’s chair with her co-star Cary Grant’s name emblazoned on it, Academy-Award-winning Best Actress Grace Kelly is served a beverage by director Alfred Hitchcock on the set of To Catch A Thief.

Cary Grant’s reaction to the beach dress makes its stunning design even more iconic.

“Grace Kelly” by twm1340 is marked with CC BY-SA 2.0.

“Grace Kelly in To Catch a Thief” by thefoxling is marked with CC BY-NC-SA 2.0.

Grace Kelly and Cary Grant — **Hitchcock had found his blonde muse in Grace Kelly and aided mightily to reveal her star qualities.**

**Grace Kelly and Cary Grant in *To Catch a Thief* (1955). Kelly and Grant were lifelong friends.**
PHOTO credit: “Grace Kelly & Cary Grant, ‘To Catch a Thief’, 1955” by thefoxling is marked with CC BY-NC-SA 2.0.

Grace wears a pink dress for a walk in the south of France.

**Grace Kelly on the set of *To Catch A Thief*.** “grace kelly” by ___carmendy is marked with CC BY 2.0.

**Cary Grant recalled that Grace commanded so much respect during the filming of To Catch a Thief that there was almost total silence when she arrived on the set.**

Grace Kelly in Ball Gown To Catch A Thief

Grace Kelly dressed for the ball in the penultimate scene of her penultimate film, To Catch A Thief.

Grace Kelly in red by Howell Conant, 1955.

Grace Kelly by Howell Conant, 1955. Conant was Grace Kelly’s friend and favorite photographer.

**26-year-old Grace Kelly and 31-year-old Prince Rainier III on their first meeting at the palace in Monaco, May 6, 1955. They would be engaged to be married by the end of the year.** Photo: Edward Quinn. Fair Use.

Grace Kelly stood five foot seven inches tall and weighed 118 pounds. Her dress size was two.⁷ She was born on November 12, 1929 into the Kelly family of Philadelphia. Grace Patricia Kelly was the third of four children and one of that Irish-German family’s three girls. Elder sister Peggy and younger sister Lizanne were athletic and shared their mother Margaret’s model looks. Margaret was the family disciplinarian who the Kelly children liked to call “the Prussian General.”⁸

GK with MOm — **Grace Kelly models a fashionable dress for her mother in the mid1950’s. Grace’s reflection is in the mirror.**

As a child Grace was dreamy and shy while her siblings were outgoing and athletic. Yet Grace inherited a keen awareness of her body using her arms and legs to be dramatically expressive in an actress’s rather than athlete’s way.⁹ At 18 years old Grace’s beautiful rectangle-shaped face with soft pear-shape dimensions displayed thick blond hair, almond-shaped blue eyes, a small high-bridge nose and ruby lips evident in later glamour photographs.

Each member of the Philadelphia Kelly family was an exuberant competitor in areas of American life such as athletics, business, politics, or high society.

in addition to her remarkable beauty, one of Grace’s major strengths was her ability to focus on the goal she decided to pursue whether professionally or personally until that goal was achieved.

When Grace won the Academy Award for Best Actress in 1955 it was a brick in the Kelly family wall of ambition for success.

Before she was a teenager Grace performed in plays so that during her teenage years a desire to be a professional actress grew. Since Grace was situated within a protective and affluent family as well as educated in Philadelphia Catholic and other private schools she sought theater work in New York City instead of Hollywood. Even when she had achieved the pinnacle of film success Grace still considered New York Theater a worthwhile aspiration and Hollywood as a pitiless machine of cinematic production.¹⁰

**The Kellys in Philadelphia. Grace and Peggy flank Jack and Lizanne on his shoulders, c. 1946.**

GK 1951 — **Grace Kelly moved to Southern California to be in motion pictures. She appeared in her first film called Fourteen Hours for 20th Century-Fox in 1951 when she was 22 years old.**

Grace 1955 — **Grace Kelly, 1955. Four years after her arrival to Hollywood Grace Kelly was one of the most glamorous women in the world.**

It was Aristotle Onassis who suggested to Prince Rainier that he marry a beautiful American movie star to bring the glitterati back to Monaco. Onassis’s list at the time did not include Grace Kelly.¹¹

Invited to the 1955 Cannes Film Festival after she had won the Academy Award for Best Actress for The Country Girl one month before, Grace was curious enough about the prince to be introduced to him in Monaco on Friday, May 6, 1955.

What is memorable from the photographs of their meeting at the palace is that the Prince looks chic and handsome and Grace is at her most beautiful in a black silk floral print dress with her blond hair pulled back into a German-style bun.

That evening Grace returned to Cannes for the festival’s screening of The Country Girl helping to conclude a day that Grace herself called “pretty wild.”¹² But Grace’s career in Hollywood wasn’t over—nor her life half begun. She was back in Paris before the festival’s winners were announced (she had won nothing there),¹³ and soon returned to Hollywood to make what turned out to be her final two Hollywood movies – The Swan and High Society.

Grace Kelly and Prince Rainier were engaged in December 1955. One of her female co-stars observed that the gem of Grace’s engagement ring that she received from the prince was the size of a “skating rink.”

Grace Kelly wears her engagement ring from Prince Rainier on the set of High Society.

**Grace Kelly in a make-up test for the honeymoon scene in High Society.**

High Society from M-G-M, starring Grace Kelly as Tracy Lord, was the biggest money making film of 1956. It was a musical adaptation of the perennially popular 1940 M-G-M rom-com The Philadelphia Story co-starring Cary Grant and Katharine Hepburn. High Society kept crooners Bing Crosby and Frank Sinatra occupied with its glorious songs by Cole Porter. Plus it had Grace Kelly’s own swan song before she departed Hollywood forever.

**Grace Kelly in High Society (1956).** “Grace Kelly” by thefoxling is marked with CC BY-NC-SA 2.0.

In the same year that The Swan (1956), a film featuring royalty, was released, Grace Kelly had married the Prince of Monaco.

Grace Kelly in a M-G-M publicity photograph for *The Swan.*

Grace behind the wheel of a Mercedes-Benz for a scene in High Society.

Leaving “Tinsel Town” for what turned out to be forever, the 26-year-old movie star sailed for Monaco. The Kellys paid a $2 million dowry and, in April 1956, Grace married her prince. She became a wife, mother, and royal princess of a sovereign city-state and microstate on the Mediterranean Sea – and one of the wealthiest places in the world.¹⁴ Grace, however, traveled frequentl to the United States, and though her acting career had precipitously ended, she remained Hollywood royalty as well.

“… Grace Kelly” by x-ray delta one is marked with CC BY-NC-SA 2.0.

GRACE KELLY HOLLYWOOD FILMOGRAPHY

1951:

Fourteen Hours
Grace Kelly as Louise Anne Fuller
Directed by Henry Hathaway
Released March 6, 1951.
Twentieth-Century Fox

1952:

High Noon
Amy Fowler Kane
Directed by Fred Zinnemann
Released July 24, 1952
United Artists

1953:

Mogambo
Linda Nordley
Directed by John Ford
Released October 9, 1953
M-G-M

1954:

Dial M for Murder
Margot Mary Wendice
Directed by Alfred Hitchcock
Released May 18, 1954
Warner Bros.

Rear Window
Lisa Carol Fremont
Directed by Alfred Hitchcock
Released September 1, 1954
Paramount Pictures

The Bridges at Toko-Ri
Nancy Brubaker
Directed by Marc Robson
Released December 31, 1954
Paramount Pictures

The Country Girl
Georgie Elgin
Directed by George Seaton
Released December 15, 1954
Paramount Pictures

Green Fire
Catherine Knowland
Directed by Andrew Marton
Released December 29, 1954
M-G-M

1955:

To Catch a Thief
Frances Stevens
Directed by Alfred Hitchcock
Released August 3, 1955
Paramount Pictures

1956:

The Swan
Princess Alexandra
Directed by Charles Vidor
Released April 18, 1956
M-G-M

High Society
Tracy Lord
Directed by Charles Walters
Released July 17, 1956
M-G-M

TEXT NOTES:

It was actually my brother Kevin who, when he was working in the Chicago Film Office, wrote to me this description of Grace Kelly and Rear Window as the greatest film ever.
Quoted in Roberts, Paul G., Style Icons Vol 4 Sirens, Fashion Industry Broadcast, p. 74.
Scott Eyman, Print The Legend: The Life and Times of John Ford, Simon & Schuster, 1999, p. 419-21; Kenda Bean and Anthony Uzarowski, Ava: A Life in Movies, Philadelphia: Running Press, 2017, p. 118
Dherbier, Yann-Brice and Verlhac, Pierre-Henry, Grace Kelly A Life in Pictures, Pavilion, 2006, p. 11.
Edith-Head-designed apparel for Rear Window – Haugland, H. Kristina, Grace Kelly: Icon of style to Royal bride (Philadelphia Museum of Art), Yale University Press, 2006, p. 956; so she could act in live theater – TBA
Date and place of 1955 Oscars- see https://www.oscars.org/oscars/ceremonies/1955 – retrieved April 26, 2017.
height and dress size- http://www.bodymeasurements.org/grace-kelly/ – retrieved April 28, 2017.
Dherbier and Verlhac, p. 9.
Conant, Howell, Grace: An intimate portrait of Princess Grace by her friend and favorite photographer, Random House, 1992, p.18.
Preferred theater to film-TBA
Leigh, Wendy, True Grace: The Life and Times of an American Princess, New York: Thomas Dunne Books, 2007, p.100.
ibid., p. 112.
Dherbier and Verlhac, p. 12.
The 1.25-mile waterfront stretch in Monaco that used to be the world’s most expensive street looks no different from the rest of the city — and it says a lot about Monaco’s wealth. Katie Warren, January 9, 2020. https://www.businessinsider.com/most-expensive-street-in-monaco-avenue-princesse-grace-2020-1

**First meeting in Monaco of Grace Kelly and Prince Rainier III. He would tell her, “This is Europe, not America, We think differently here, and you will have to get used to it.”** Fair use.

From his Grammy-Award winning “Last Tango in Paris” (1972) to the Latin Grammy Lifetime Achievement (2015), saxophonist LEANDRO “GATO” BARBIERI is one talented cat.

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FEATURE image: “RICH FREE-6” by jeanmimi 2000 is licensed under CC BY-SA 2.0.

Released in September 2002 on Peak Records, the Latin jazz ballad “Beautiful Walk” is from Argentine-born saxophonist Leandro “Gato” (the “Cat”)Barbieri’s 50th album, Shadow of the Cat.

Shadow of the Cat was Grammy-nominated for Best Latin Jazz. Gato Barbieri looked to two major sources for the album’s inspiration. The first was the 30th anniversary of his Last Tango in Paris (1972) for which Barbieri won a Grammy Award for the film score. The second was his huge-toned, raucous yet smooth jazz-pop sound Barbieri created in five albums he made at A&M Records in the mid-to-late-1970’s.

Following a six decade career as a music original, Gato Barbieri died on April 2, 2016 at 83 years old.

Latin Grammy Lifetime Achievement in 2015. “What do you play?”

By 2006 Gato Barbieri was content that in a long musical career he had pursued playing different musical styles—jazz, Latin, film orchestration, etc.—and did not limit himself to a single genre.

In November 2015 Gato Barbieri received the Latin Grammy Lifetime Achievement Award for music that has been described as “mystical yet fiery, passionately romantic yet supremely cool.” Around the same time, Barbieri gave his final concert at the Blue Note club in Greenwich Village. That was the club where the “Cat” first performed in 1985 and—still sporting his trademark black fedora hat—started performing again there in 2013 on a monthly basis until his last concert on November 23, 2015.

“The jazz people they don’t consider me a jazz musician. If I am Latin, they don’t consider me Latin. So I am here in the middle,” Gato said. “It’s a good thing. You know why? Because they say, ‘What do you play?’ I say, ‘I play my music — Gato Barbieri.’”

Mid1960’s- Jammin’ fusion.

Gato Barbieri and Italian-born wife Michelle married in 1960 and moved to Rome in 1962, where Gato began collaborating with American jazz trumpeter Don Cherry (1936-1995). The year is 1966. Tenor saxophonist Gato Barbieri is joined by trumpeter Don Cherry, jazz vibraphonist Karl Berger (German, b. 1935) and bassist Bo Stief (Danish, b. 1946). In 1966 Barbieri and Cherry recorded two albums for Blue Note—Complete Communion and Symphony For Improvisors. Also in that early era Gato recorded with jazz saxophonist and composer Steve Lacy (1934-2004) and South African pianist Abdullah Ibrahim (b. 1934).

Recordings for Flying Dutchman and Impulse!.

In the early 1970’s Barbieri recorded a handful of albums on the Flying Dutchman label and later signed with Impulse! where he recorded his classic “Chapter Series” which included Latin America and Hasta Siempre (both 1973), Viva Emiliano Zapata (1974) and Alive in New York (1975).

Gato Barbieri, “Encuentros” from Chapter One: Latin America, the 1973 album on the Impulse! label.

Barbieri’s free jazz meant he was playing with American jazz double bass player Charlie Haden (1937-2014) and American jazz pianist Carla Bley (b. 1936), among many others. The Cat could also be found jamming with jazz bassist Stanley Clarke (b. 1951), Brazilian jazz drummer and percussionist Airto Moreira (b. 1941), Cuban composer Chico O’Farrill (1921-2001) and American jazz musician Lonnie Liston Smith (b.1940).

Gato Barbieri’s Last Tango in Paris (1972) was an international sensation. The “Cat” won the Grammy Award that year for his musical score in the Bernardo Bertolucci film starring Marlon Brando and Maria Schneider.

Gato Barbieri’s free-jazz playing and improvised style that mined Latin jazz in multi-artist projects in the late 1960s and early 1970s attracted Italian film director Bernardo Bertolucci (1941-2018) for his next film project. In 1972 Bertolucci recruited Gato Barbieri to compose the score for Bertolucci’s brutal sex-fantasy film Last Tango in Paris (1973) starring Marlon Brando and Maria Schneider.

Bertolucci hired Barbieri to incorporate the Italian director’s ideas for an original blend of jazz, strings, and tangos to embody his highly controversial X-rated film’s chaos of spirit and ferocious sexuality that gave nod to American and European avant-gardists with a splash of Hollywood popularity. The musical score for Last Tango in Paris was a professional triumph for the 41-year-old Gato Barbieri.

“Last Tango in Paris” by drmvm1 is licensed under CC BY-ND 2.0.

The film, censored and disliked across a range of groups as well as whole nations, received two Academy Award nominations – for Best Actor for Marlon Brando’s performance and Best Director for Bertolucci. At the April 1974 ceremony, Oscar in both categories, went to others – respectively, Jack Lemmon for Save the Tiger and George Roy Hill for The Sting. The film was neither nominated for Best Foreign Language Film, nor was its musical score recognized in any way.

After Last Tango in Paris opened in New York City on February 1, 1973, Gato Barbieri’s musical score was an instant international sensation. In March 1974, at the 16th Annual Grammy Awards in Los Angeles, Gato Barbieri won the Grammy Award for Best Instrumental Composition (“Album of Best Original Score Written For A Motion Picture Or A Television Special”) for his work on Last Tango in Paris.

“File:Pellicciotti con Gato Barbieri.jpg” by Giuseppe Pino is licensed under CC BY-SA 4.0

Fireflies is the lead track from Gato’s bestselling Caliente! album for A&M in 1976. It was produced by Herb Alpert.

Gato Barbieri performed benefit concerts, one for the Friends of Chile benefit concert in Madison Square Garden on May 6, 1974. Gato Barbieri’s five albums on A&M Records in the mid-to-late 1970s featured a more soothing jazz-pop sound.

Caliente! (1976) on A&M Records was released at the beginning of the peak of the jazz-fusion and disco eras. Produced by Herb Alpert, Gato Barbieri plays with sizzling heat relying on tango-infused Argentine fluency as well as the influence of Sonny Rollins (b.1930), John Coltrane (1926-1967) and Pharoah Sanders (b. 1940).

Caliente! is beautifully arranged and executed which makes for enjoyable listening. The concept of strings combined with rhythmic danceable funk anted up Barbieri’s raucous sound and made Caliente! a successful primogeniture to Herb Alpert’s instrumental Rise in 1979 which became a huge international hit.

“Tango is tragedy.”

“Always in the tango is tragedy,” said Barbieri in 1997. “She leaves him, she kills him. It’s like an opera—but it’s called tango.”

In the 1980s the “Cat” kicked it up a notch for Para Los Amigos (1984), an album which spotlighted the rock-influenced South American sound.

Mystica is from Gato Barbieri’s Qué Pasa. After working nonstop for nearly 30 year, the 1997 album was the Argentine jazz tenor saxophonist’s first of the 1990’s. Gato would produce over 50 albums in his career. (5.20 minutes).

Gato: “Music is a mystery.” “Gato Barbieri” by ognid is licensed under CC BY-NC-ND 2.0

By the early 1990’s Gato had taken time off from creating in order to evaluate his musical style and identity going forward. Suddenly, in 1995, Michelle Barbieri, his wife of 36 years, as well as manager and confidant, died. In deep bereavment, Gato took up his saxophone and began to record again. This effort soon produced the 1997 album, Qué Pasa, Gato Barbieri’s first album of the decade.

In 1996 Gato Barbieri married his wife Laura and they soon had Christian, their son. After Gato’s death on April 2, 2016 at 83 years old, Laura Barbieri told The Associated Press: “Music was a mystery to Gato, and each time he played was a new experience for him, and he wanted it to be that way for his audience.”

SOURCES:
Barbieri’s 50th album, “Shadow of the Cat” released in September 2002 on Peak Records – http://www.allmusic.com/album/the-shadow-of-the-cat-mw0000225929

two sources for its inspiration… – http://www.allmusic.com/album/the-shadow-of-the-cat-mw0000225929

won a Grammy Award for his film score – http://www.billboard.com/articles/columns/latin/7318824/gato-barbieri-dead

five albums at A&M Records in mid-to-late-1970’s. – http://www.concordmusicgroup.com/artists/gato-barbieri/

in 2015 Latin Grammy Lifetime Achievement Award – http://www.billboard.com/articles/columns/latin/7318824/gato-barbieri-dead

“Mystical yet fiery…” quotation – http://www.concordmusicgroup.com/artists/gato-barbieri/

First performed at Blue Note – http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html

Perform monthly since 2013 – http://highlighthollywood.com/2016/04/latin-jazz-saxophonist-gato-barbieri-dies-at-age-83-highlight-hollywood-news/

gives his final concert – http://www.tff.gr/nea/arthro/to_teleutaio_tangko_tou_leantro_gkato_mparmpieri_vds-130329325/

“‘I play my music — Gato Barbieri’” quotation – http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html

Evaluate his musical style and identity-https://www.encyclopedia.com/education/news-wires-white-papers-and-books/barbieri-gato

“Tuxedo cat 1” *by RahelSharon is licensed under* CC BY-NC-ND 2.0

Jennifer Jones is Miss Dove in Twentieth Century-Fox’s GOOD MORNING, MISS DOVE!

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FEATURE image: Jennifer Jones in Good Morning, Miss Dove! (1955).

good-morning-miss-dove-movie-poster-1955-1020210172

**Movie poster for Henry Koster’s Good Morning, Miss Dove! Starring Jennifer Jones, it was released by 20th Century-Fox the day before Thanksgiving in 1955.**

Jennifer Jones in Good Morning, Miss Dove! (1955). The 36-year-old actress plays an elderly teacher taken ill at school who, in flashbacks reviewing her life, as a young woman had been about to marry the man she loved when her father died unexpectedly and was secretly heavily in debt. Miss Dove decides not to marry but to repay the debt by becoming the town’s teacher.

The film stars Jennifer Jones, Robert Stack, Kipp Hamilton, Robert Douglas, Peggy Knudsen, Marshall Thompson, Chuck Connors, and Mary Wickes. The film opened to good reviews and was popular at the box office. A New York Times review observed: “Since it is unashamedly sentimental without being excessively maudlin about its heroine, ‘Good Morning, Miss Dove’ deserves credit for being honest and entertaining.”

By John P. Walsh

Good Morning, Miss Dove! is Frances Gray Patton’s contemporary tale of a middle-aged spinster elementary school geography teacher in Liberty Hill who, when suddenly taken ill, sees the entire small town rally to her side.

It is a mythical period piece from the mid-1950’s. It depicts an unchanging town whose students obey their beloved teacher. Though directed by Henry Koster in a stagey way, the film boasts progressive casting. One year after the milestone 1954 Supreme Court decision in Brown v. Topeka Board of Education establishing racial segregation in public schools as unconstitutional, Good Morning, Miss Dove! presents a newly-integrated public school classroom in Cinemascope and De Luxe color.

Film-going audiences in 1955 loved the film.

Awaiting a risky operation, Miss Dove (Jennifer Jones) thinks back on her life and those of her prized grown-up former students. They included Robert Stack (a surgeon), Chuck Connors (a policeman), and Jerry Paris (a playwright). All of these students overcame difficult childhoods and found worldly achievement with the help of Miss Dove.

Based on popular Book of the Month Club novel.

Patton’s novel had enjoyed success in 1954 as a Book of the Month Club and Reader’s Digest selection. Its release as a major motion picture by 20^th Century-Fox continued the novel heroine’s popularity.

Release of the film during the Thanksgiving weekend 1955 was in the same year that Jennifer Jones starred in another Deluxe color film, the American drama-romance Love is a Many-Splendored Thing.

For the Academy-Award winning actress to play an elderly spinster (many early scenes feature the naturally dark-haired Miss Jones without her older character’s make-up), she moves beyond type. In the mid-1950’s as America settled into the Eisenhower years, Good Morning, Miss Dove! showed a lead film character -– the “terrible” Miss Dove played by Jennifer Jones — as an unflinching and beloved disciplinarian. Yet in the 1950’s the American public education system was undergoing copious and difficult change. In that way, the character of Miss Dove is further complicated by becoming a popular icon in the American culture by being mostly a nostalgic figure.

A flashback scene from Good Morning, Miss Dove! Jennifer Jones as young Miss Dove with her father, Alonso Dove (Leslie Bradley). When he dies unexpectedly and in debt, Miss Dove resolves to pay it back and upends her own life’s plans to do so. Costumes by Mary Wills.

Jennifer Jones in make up for Good Morning Miss Dove

In 1955 Jennifer Jones was a 36-year-old beauty. Through the magic of Hollywood make-up (Ben Nye) and hair styling (Helen Turpin), she was transformed into the elderly Miss Dove for Good Morning, Miss Dove! In 1954 after Grace Kelly wore make-up for The Country Girl that hid her good looks and went against her youthful image (Kelly was 24 years old), she won the Academy Award for Best Actress for that year.

Young Miss Dove played by Jennifer Jones gives up marriage to the man she loves for a future as a spinster teacher so to pay back her late father’s debt. The story is based on a book by Frances Gray Patton that was itself based on her short stories. When 20th-Century Fox bought the rights for $52,000, it was the equivalent of about half a million dollars today.

Jennifer Jones as the elderly teacher in Good Morning, Miss Dove! set in the fictional Midwest town of Liberty Hill. Before filming began in July 1955, director Henry Koster wanted Olivia deHavilland for the role and have it set in England. Though set in contemporary America, critics saw Miss Dove as a character out of Charles Dickens.

The audience meets the elder Miss Dove at the movie’s start—make-up and hair-styling artists Ben Nye and Helen Turpin transformed the 35-year-old Jennifer Jones into the 55-year-old Miss Dove—and by flashbacks.

The film dramatizes her youth as she is about to marry. But she receives the unexpected news that her father has died suddenly and that he has debts. To pay them back, she steels herself to remain single and take a teaching post. Her chilly veneer is part of her honor to do the proper thing along with the sober accommodation to life’s necessary sacrifices.

While those who did not know Miss Dove mock her behind her back and say she couldn’t have had much of a life—never married, no family, no kids, never traveled anywhere—her army of students judge her differently.

Beyond any possibly wider cultural meaning, the film presents a unique person who by the logic of her experience or the experience of her logic enters into a series of social interactions that are amusing and honest. These include the film’s penultimate scene. Miss Dove is on her sick bed when she tells her pastor, Reverend Burnham (Biff Elliot): “Life, whatever others may think, has been for me…I have been happy. I have made many mistakes. Perhaps even sinned. I admit my human limitations but I do not in all honesty find the burden of my sins intolerable. Nor have I strayed like a sheep. I have never been AWOL. I have never spoken hypocrisy to my Maker and now is scarcely a propitious moment to begin.”

While these thoughts may be judged from different perspectives, they are expressive of a woman’s life completely dedicated to her profession and students at Cedar Grove Elementary School. The film’s denouement starting at around 1:39:00 is powerful. Accompanied by Leigh Harline’s memorable soundtrack, it is a sentimental tribute to Miss Dove’s life which benefited through the years many different people because of nothing less than her good character. (1:47:16).

THE MOVIE:

Mary Wills: Oscar-winning costume designer.

The costume designer for Good Morning, Miss Dove! (1955) is Mary Wills (1914-1997). She worked mainly for Samuel Goldwyn productions and Twentieth Century-Fox, breaking into the movie business as a sketch artist for Gone With The Wind (1939). In her nearly 40-year career Mary Wills was nominated for an Oscar seven times and won the Academy Award in 1962 for her colorful designs for The Wonderful World of the Brothers Grimm.

First woman admitted to Yale Art and Drama program. “The Fabulous Miss Wills.”

Born in Prescott, Arizona, Wills moved to Los Angeles after receiving her Master’s degree from the Yale Art and Drama School. She was the first woman admitted into that program.

Wills started designing costumes in 1944 at RKO with Belle of the Yukon and soon after designed costumes for Disney’s Song of the South (1946). She started working for Samuel Goldwyn in 1948 where she designed costumes for Enchantment. For the next six years at Goldwyn Studio the costume designer was referred to as “The Fabulous Miss Wills.”

She was regularly nominated for her costume design in the 1950’s when she designed the costumes for Good Morning, Miss Dove! including Hans Christian Anderson (1952), The Virgin Queen (1954), Teenage Rebel (1956), A Certain Smile (1958), The Diary of Anne Frank (1959), The Passover Plot (1976) and the film for which she won the Academy Award in 1962. Mary Wills also designed the Rogers and Hammerstein musical film Carousel in 1956.

Ice Follies. Camelot and Funny Girl.

Mary Wills demonstrated a special talent for designing historical costumes, especially after she moved to 20th-Century Fox in 1954 to make The Virgin Queen starring Bette Davis. Later she showed great aptitude for designing dance and folk costumes. A collection of her original sketches are online at the Los Angeles County Museum for live productions including the Shipstad & Johnson Ice Follies, now known as the Ice Follies. Mary Wills worked on two major films that she did not get film credit for — namely, Camelot (1967) and Funny Girl (1968). For Funny Girl, she designed the Ziegfeld show-girl brides costumes as well as the costumes for Omar Sharif.

Academy-Award winning costume designer Mary Wills at the Samuel Goldwyn Studio (c. 1948). The Oscar-winning costume designer worked mainly for Samuel Goldwyn Productions and Twentieth Century-Fox.

Miss Dove (Jennifer Jones) in a costume by Mary Wills. In the 1950’s Mary Wills was nominated for an Academy Award four times.

Jincey Baker (Kipp Hamilton), Miss Dove (Jennifer Jones), and Dr. Tom Baker (Robert Stack). Promotion for the film included advertising that encouraged moviegoers to see it for its portrayal of the state of education in the country at the time. Costumes by Mary Wills.

A 1955 drama that is both contemporary and nostalgic. Mary Wickes plays Miss Ellwood (second from left). Costumes by Mary Wills.

Jennifer Jones as a small town spinster teacher who falls ill in the film Good Morning, Miss Dove! Her stern and upright demeanor masks her personal sacrifices and devotion to her students. Tha world is thrown into chaos when Miss Dove experiences an acute pain and grows numb in her leg. It is while she is in her hospital bed awaiting risky surgery that she relates her life in flashbacks.

In Good Morning, Miss Dove! Jennifer Jones is a beautiful young woman who rejects a marriage proposal to become the town’s grade school teacher to repay her late father’s debts. Costumes by Academy Award nominated costume designer Mary Wills.

In the hospital Miss Dove is cared for by Nurse Billie Jean Green (Peggy Knudsen). Billie Jean is one of Miss Dove’s former student who left Liberty Hill and had a child out of wedlock. Back in her hometown, Billie Jean is infatuated with the local policeman, Bill Holloway (Chuck Connors). Bill is another of Miss Dove’s former students and one of her best pupils. Later, in the 1970’s, when actress Peggy Knudsen was suffering from a debilitating illness (she died in 1980 at 57 years old), she was in real life cared for by her close friend, Jennifer Jones.

Miss Dove with former student and Liberty Hill policeman Bill Holloway (Chuck Connors). Miss Dove tells nurse Billie Jean Green how Bill first arrived to her classroom– a poor, unkempt boy being raised by his alcoholic grandmother. Over the years, Miss Dove gave Bill odd jobs and bought him a suit for his grammar school graduation. After Bill entered the Marines, he wrote to Miss Dove often, and when he returned to Liberty Hill, she was the first person he came to for career advice.

On the day of Miss Dove’s surgery, classes are dismissed and the townspeople of Liberty Hill wait outside the hospital for news of the operation’s outcome. The film provides a sentimental picture of mid-20th century America that is of Norman Rockwell proportions. Yet the film’s crisp dialogue and sharp character development by Jennifer Jones and the supporting cast engages the moviegoer. By the end of the film the outcome of Miss Dove’s surgery is as affecting to the audience as it is the fictional townspeople of Liberty Hill.

SOURCES:

https://www.academia.edu/1848534/_John_Dewey_vs._The_Terrible_Miss_Dove_Frances_Gray_Pattons_Postwar_Schoolmarm_and_the_Cultural_Work_of_Nostalgia

Green, Paul, The Life and Films of Jennifer Jones, McFarland & Co. Inc. Publishers, Jefferson, North Carolina and London, 2011.

http://www.nytimes.com/movies/movie/93588/Good-Morning-Miss-Dove/overview

http://www.popmatters.com/review/182178-good-morning-miss-dove/

http://www.themakeupgallery.info/age/1950s/dove.htm

*The photograph copyright may be believed to belong to the distributor of the film, 20th Century Fox, the publisher of the film or the graphic artist. The copy is of sufficient resolution for commentary and identification but lower resolution than the original photograph. Copies made from it will be of inferior quality, unsuitable as counterfeit artwork, pirate versions or for uses that would compete with the commercial purpose of the original artwork. The image is used for identification in the context of critical commentary of the work, product or service for which it serves as poster art. It makes a significant contribution to the user’s understanding of the article, which could not practically be conveyed by words alone. As this is a publicity photo (star headshot) taken to promote an actress, these have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary. (See- Eve Light Honthaner, film production expert, in The Complete Film Production Handbook, Focal Press, 2001 p. 211.) Gerald Mast, further, film industry author, in Film Study and the Copyright Law (1989) p. 87, writes: “According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film’s copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible.” Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference with cinema scholars and editors, that they “expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements … [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs.”(“Fair Usage Publication of Film Stills,” Kristin Thompson, Society for Cinema and Media Studies.)

Fig. 3. John Travolta attended the London premiere of Saturday Night Fever on March 22, 1978 with Kay Edwards.

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Is the film scene historically accurate?

Special order of knights founded by pope cared for lepers in Italy.

Young Francis visits the leper hospital — and it changes his life.

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MARLENE DIETRICH

1940’s blondes

“Whitey” Schafer wrote an important book on glamour photography

ELIZABETH TAYLOR.

LANA TURNER.

New Jean Harlow?

László Willinger

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Grace Kelly and her stand-in Dorothy Towne on the set of High Noon (1952).

GRACE BEGINS HER FASHION COLLABORATION WITH ACADEMY-AWARD-WINNING COSTUME DESIGNER EDITH HEAD IN 1953.

Grace Kelly in wardrobe by Edith Head for The Bridges of Toko-Ri. Filming began in January 1954.

On the set of Rear Window (1954).

Edith Head’s famous eau de nil suit and matching hat for Grace Kelly in Rear Window (1954).

Grace Kelly studying the script during filming of George Seaton’s The Country Girl. The 1954 drama film received 7 Academy Award nominations and won two Oscars – including Grace Kelly as Best Actress.

Grace Kelly backstage after the 27th annual Academy Awards on March 25, 1955.

At the 27th Annual Academy Awards, presenter Bette Davis is joined by Marlon Brando and Grace Kelly, each holding their golden trophies for Best Actor and Best Actress.

Grace Kelly in a chiffon-draped gown by Edith Head in To Catch a Thief (1955).

Sitting in a director’s chair with her co-star Cary Grant’s name emblazoned on it, Academy-Award-winning Best Actress Grace Kelly is served a beverage by director Alfred Hitchcock on the set of To Catch A Thief.

Grace Kelly dressed for the ball in the penultimate scene of her penultimate film, To Catch A Thief.

Grace Kelly by Howell Conant, 1955. Conant was Grace Kelly’s friend and favorite photographer.

Grace Kelly wears her engagement ring from Prince Rainier on the set of High Society.

Grace behind the wheel of a Mercedes-Benz for a scene in High Society.

GRACE KELLY HOLLYWOOD FILMOGRAPHY

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Latin Grammy Lifetime Achievement in 2015. “What do you play?”

Mid1960’s- Jammin’ fusion.

Recordings for Flying Dutchman and Impulse!.

“Tango is tragedy.”

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Movie poster for Henry Koster’s Good Morning, Miss Dove! Starring Jennifer Jones, it was released by 20th Century-Fox the day before Thanksgiving in 1955.

A flashback scene from Good Morning, Miss Dove! Jennifer Jones as young Miss Dove with her father, Alonso Dove (Leslie Bradley). When he dies unexpectedly and in debt, Miss Dove resolves to pay it back and upends her own life’s plans to do so. Costumes by Mary Wills.

Mary Wills: Oscar-winning costume designer.

Academy-Award winning costume designer Mary Wills at the Samuel Goldwyn Studio (c. 1948). The Oscar-winning costume designer worked mainly for Samuel Goldwyn Productions and Twentieth Century-Fox.

Miss Dove (Jennifer Jones) in a costume by Mary Wills. In the 1950’s Mary Wills was nominated for an Academy Award four times.

Jincey Baker (Kipp Hamilton), Miss Dove (Jennifer Jones), and Dr. Tom Baker (Robert Stack). Promotion for the film included advertising that encouraged moviegoers to see it for its portrayal of the state of education in the country at the time. Costumes by Mary Wills.

A 1955 drama that is both contemporary and nostalgic. Mary Wickes plays Miss Ellwood (second from left). Costumes by Mary Wills.

In Good Morning, Miss Dove! Jennifer Jones is a beautiful young woman who rejects a marriage proposal to become the town’s grade school teacher to repay her late father’s debts. Costumes by Academy Award nominated costume designer Mary Wills.

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**Movie poster for Henry Koster’s Good Morning, Miss Dove! Starring Jennifer Jones, it was released by 20th Century-Fox the day before Thanksgiving in 1955.**