The Skinny: In An Alternate Universe

We love classic movies. TCM is in our top 3 favorite cable channels, and we love to catch Robert Osbourne's introductions. We're addicted to the trivia behind the movies that we adore. So, I started thinking about those big, classic, well-known films on our list, and the actors that made them special. It turns out that a lot of the movies, and their now-iconic leading actors, could have been a lot different.  It all comes down to timing and casting, darling.

For example, it was circulating online the other day that Cleopatra originally had a different female lead. Think about it. Can you really imagine anyone other than Liz Taylor as Cleopatra? But it was originally supposed to be Joan Collins. If she had actually kept this gig, then who knows if the Burton-Taylor saga would have turned out the same way...or happened at all. And would the grand Ms. Collins have ended up on Dynasty? The world may never know.... (Even weirder, Audrey Hepburn and Susan Hayward were also considered for the role, and at one point, Alfred Hitchcock was asked to step in as director. He made The Birds instead.)

Elizabeth Taylor, Cleopatra

So, here are some other switcharoos that made movie history.

On the Waterfront (1954)
We all know Marlon Brando as the face of this movie--

Marlon Brando, On the Waterfront

but originally, his role was offered to this guy:

Frank Sinatra

Planet of the Apes (1968)
Charlton Heston has a few iconic roles on his resume, and this is one of them.

Charlton Heston, Planet of the Apes

But, the film might have happened with someone different in his place (which would have made it much more bearable, in my opinion):

Rod Taylor!

To Have and Have Not (1944)
Lauren Bacall and Humphrey Bogart infamously fell in love while making this movie.

Bogey and Bacall, To Have and Have Not

It turns out that another actress in the film was, shall we say, demoted to a lesser role when Howard Hawks decided that he wanted Lauren Bacall (for more than her acting skills, they say). Dolores Moran's place in the plot shrank, and Bacall's character became the lead. To make it worse, Hawks was actually having an affair with Moran at the time. So, he kind of stabbed his mistress in the back. While they were still working together. So that he could try for another mistress. Who was also working with them. Hmmm.... I wonder if he actually thought that was a good plan.

Dolores Moran

Casablanca (1942)
There are a few changes that happened for this movie. And one definite non-change: Bogey was the only one considered for his role, because it was a perfect union.

Bogey!

But, Ilsa, his lady love...

Ingrid Bergman

could have been this lady:

Hedy Lamarr

AND, although Dooley Wilson's role in the film is very secondary, "Play it again, Sam" is one of the most famous lines of all time--and it never even happened! (It's actually like this: He says: "You played it for her, you can play it for me. If she can take it, I can take it--so play it!". Ilsa says "Play it, Sam. Play 'As Time Goes By"'.) But anyway, people remember Sam from that movie, and Sam was almost...A LADY! To be played by one of these:

Lena Horne

Ella Fitzgerald

The Godfather (1972)
Not one of our favorite films, but it's still on the Top 100 list, so here goes.... Can you really imagine this guy:

Marlon Brando, The Godfather

being played by one of these?

Orson Welles

Edward G. Robinson

Ernest Borgnine

The Wizard of Oz (1939)
Dorothy?

Judy Garland, The Wizard of Oz

Or Dorothy?

Shirley Temple

Psycho (1960)
Marion, so classically played by Janet Leigh...

Janet Leigh, Psycho

Could you really imagine Laurey from Oklahoma!  in that infamous shower scene? Really?

Shirley Jones

Lawrence of Arabia (1962)
Imagine the desert. The sun is hot, the wind is blowing--now look into his eyes....

Peter O'Toole, Lawrence of Arabia

And try to recapture that feeling with one of these fellows:

Marlon Brando

Anthony Perkins

The Graduate (1967)
Dustin Hoffman is so cute.

Dustin Hoffman, The Graduate

And so is this guy, but that movie wouldn't have been quite as wonderful with him as Benjamin.

Robert Redford

Gone With the Wind (1939)
This one is a biggie. Allow me to take a deep breath...

Let us begin with Rhett Butler.

Clark Gable, Gone With the Wind

Who could have been played by:

Gary Cooper

Errol Flynn

(Gossip! Clark Gable only took the part when the studio agreed to a $50,000 raise, which he used to divorce his wife so that he could marry Carole Lombard.)

Now, we move on to Scarlett's sister, Carreen, played by Ann Rutherford.

Ann Rutherford

But the studio really wanted her (she was busy with a wizard somewhere...):

Judy Garland

Scarlett O'Hara, one of the most iconic movie characters of all time:

Vivien Leigh as Scarlett

Came from a long line of casting calls and screen tests with these babes: Lucille Ball, Joan Crawford, Jean Arthur, Claudette Colbert, Bette Davis, Paulette Goddard, Katharine Hepburn, Norma Shearer, and Barbara Stanwyck, among others. That's too many pictures for a blog post, but try to imagine Katharine Hepburn in that movie. Just try.

Who else was originally supposed to be in this movie? These guys:

The KKK!

(We can see why they were written out)

And, last, but certainly not least--possibly the biggest decision made on this set....

It was 1939, after all, and the Hollywood Production Code restricted the use of certain words, so the infamous, iconic, #1 most famous movie line of all time:

"Frankly, my dear, I don't give a damn!"

Was originally going to be one of these:
-Frankly, my dear, I don't give a hoot!
-Frankly, my dear, it makes my gorge rise!
-Frankly, my dear, my indifference is boundless!
-Frankly, my dear, nothing could interest me less!

The MPAA passed an amendment to the code, just in the nick of time, so that the line could remain without breaking the rules. Just imagine what the world would be like if people went around shouting "It makes my gorge rise!" Heehee.



*Information from www.imdb.com

The Skinny: Gilbert Adrian

"Tigress Ensemble", from Adrian's 1949 collection

A Connecticut native, Adrian Adolph Greenberg began designing costumes while a student at the New York School for Fine and Applied Arts (now Parson's) in the early 1920s. He transferred to the school's Paris campus, where his designs caught the eye of Irving Berlin, who hired Greenberg to do the costumes for The Music Box Revue in 1922 and 1923.

Although he continued to produce costumes for Berlin's endeavors, his first real movie job was designing for an MGM production called The Merry Widow in 1925. The same year, he was commissioned to design custom costumes for Rudolph Valentino, as well as the wardrobe for the introduction to The Gold Rush. This work brought him to the attention of Cecil B. DeMille, one of the most famous film directors of the era (and possibly all time), who hired Greenberg to be the head of his wardrobe department. In 1928, DeMille signed with MGM, taking the designer with him, and when DeMille parted ways with the studio, Greenberg signed a contact directly with MGM, and worked for them until 1942.
 

Adrian gown for Eve Arden, Ziegfeld Girl (1941)

Adrian gown for Joan Crawford, Letty Lynton

Greenberg created a pseudonym using his father's name and his own first name, and was frequently credited as "Gilbert Adrian" for his costume work. However, the majority of his films simply stated "Gowns by Adrian" in the credits, and the name "Adrian" became known as a fashion institution of the 1930s and 1940s. In fact, when stores began producing knock-offs of his designs, the tag or advertisement often stated that the piece was "Adrian style" or "Adrian cut."

Adrian draped brown taffeta gown

His work is legendary--not only did he design the costumes for The Wizard of Oz (including the infamous ruby slippers!), he did gowns for Katharine Hepburn in Woman of the Year and The Philadelphia Story, as well as Marie Antoinette (1938) and The Women (1939), which featured a dazzling fashion show of Adrian's finest designs. Other films featuring costumes by Adrian include Ninotchka (1939), Broadway Melody of 1940, Lady be Good (1941), and around 242 other films. Leading ladies like Greta Garbo, Judy Garland, Greta Garbo, and Norma Shearer frequently wore his designs, and he is credited with creating Joan Crawford's iconic "triangle" look, with broad shoulders and a tiny waist. In fact, his looks for Joan Crawford are among his most famous, particularly those featured in The Bride Wore Red and Letty Lynton. He also perfected the classic 1930's-style bias-cut gowns that became Jean Harlow's signature style.

Beaded ensemble for Joan Crawford, The Bride Wore Red

Katharine Hepburn, The Philadelphia Story

Adrian gown for Marie Antoinette

Greta's Mata Hari costume weighed 50lbs.

Adrian also designed ready-to-wear for exclusive stores in several cities. He was particularly known for his hooded suits, which added an air of mystery to the woman who wore them.

And in case you are unfortunate enough to have never seen The Women (the original, of course, as the new one is a waste of film), you can view it here: http://www.tcm.com/mediaroom/video/337425/Women-The-Movie-Clip-Into-The-Future.html


*Information obtained from www.imdb.com and www.tcm.com

The Skinny: Look Like a Movie Star With Max Factor

I've grown up hearing about Cover Girl, Revlon, Maybelline--all of the big names in cosmetics, and I've always taken for granted that makeup is makeup, and women (and men) use it to look different. I never really thought about the historical importance that a particular brand of makeup would have (and, consequently, the man behind the name). But then there is Max Factor.

Vintage Max Factor makeup kit, from thecostumermanifesto.com

Max Faktor started out as a pharmacy apprentice who began experimenting and mixing homemade cosmetics in a little shop in Poland. His first big break came in the late 1800s when a theatrical company wore his products during a performance for the Russian Czar and his family. They were, shall we say...royally impressed, and asked Max Faktor to act as the official makeup advisor to the Imperial Russian Grand Opera.

Vintage Max Factor rouge tin, from rubylane.com

In 1904, he finally decided to stretch his wings (and let's face it--things weren't great in Russia in 1904, so it was probably a really good move on his part), so Faktor brought his brood to America (and became the Factor family at Ellis Island). He set up a stall at the St. Louis World's Fair later that year and started selling his cosmetics. An intelligent man, he observed a prime opportunity for someone with his particular set of skills within the growing film industry. The Factors headed for Hollywood in 1908, and by 1914 Max Factor had developed the first makeup specifically suited for film (called "flexible greasepaint"). He also made high-quality human hair wigs, which the studios begged him to rent out. He obliged, on the condition that his sons be cast as extras, so that they could guard the wigs from kleptomaniac actresses.

He developed custom lipstick shades for Hollywood's leading ladies.

What I had never thought about was how much the chemical composition of the makeup mattered in early films. I have always just assumed that powder was powder, and lipstick was lipstick, and nails were either polished, or not. It turns out that the combination of the film type and the light source (carbon or tungsten), plus the actor's natural skin tone, made quite a challenge for the makeup artist to make the actors look normal on screen. Any transition in Hollywood's technology meant necessary product development within the cosmetics industry so that the film looked good. Max Factor was there every step of the way, for the evolution within the black and white era (some lighting was softer than others, some film types made skin look much darker, some tint was required to make fingernails look normal), and the all-important Technicolor (a completely different ball game), to the improvements in television technology. In fact, Max Factor makeup was the standard for the industry up until the arrival of HDTV.

You, too, could look like Judy Garland with Max Factor!

He also created signature looks for some of the most iconic actors and actresses of all time. Max Factor is responsible for Clara Bow's "cupid's bow" lips, and Joan Crawford's full, dark lips. He developed customized makeups to best enhance the looks of particular actors on screen, including Judy Garland, Bette Davis, Jean Harlow, Claudette Colbert--even Rudolph Valentino had custom Max Factor makeup. He sprinkled gold dust in Marlene Dietrich's hair to make it shimmer onscreen.

Clara Bow's infamous lips.

The next time you watch one of the classics, or gasp over some beautiful actress in a black and white movie still shot, think about the fact that a large part of what you love about it is the essence of Max Factor. The full lips, the shimmery hair, the flawless face--they attract you because of the kitchen experiments of a poor Polish immigrant, a man who helped make screen stars into beauty icons. And if you happen to collect vintage makeup, check out these recent additions to our Etsy shop:

1950s eyeliner, in our Etsy shop

1950s Max Factor mascara tubes, in our Etsy shop

The Skinny -- Eve Arden and Cover Girl

Who, me?

We Blackbird girls watch a lot of classic films. Robert Osborne is our hero. We live for technicolor, and die for black and white.  It's not uncommon for one of us to mutter to the other some obscure line from an old movie -- to the confusion of the people around us.  There was a time when, out of curiosity, I asked everyone I came across to tell me where the line, "Moses supposes his toeses are roses, but Moses supposes erroneously," comes from.  And then I was shocked when no one knew.  It's "Singin' in the Rain," people!  Isn't that required viewing?

Alas, no.  I thought people were just born with an appreciation for Gene Kelly movies, but they're not.  So therefore, I sometimes feel like I'm privy to a wonderful secret weapon -- an endless chain of inspiration and ideas.  And I'll share it with you, dear readers.  Beyond the wonderful acting and storytelling, classic movies' sets and costuming are chock full of ideas for the taking.  Want to decorate your house? Want to see some amazing clothing?  Just turn the TV to TCM and leave it there.

So, speaking of Gene Kelly movies, how many of you have seen "Cover Girl?"  Yeah, yeah, Rita Hayworth is gorgeous.  Gene is as sexy as he ever is as Danny McGuire...maybe even more than usual.  But who do we talk about?  Eve Arden.  Know her?  Of course, you do -- you know her as the principal of Rydell High in "Grease."  But when we think of Eve Arden we think of two movies -- "Stage Door" (fab movie, too, with Lucille Ball, Katharine Hepburn, Ginger Rogers, and Ann Miller) and "Cover Girl".

Yeah, I know I'm the shizzle.

Eve Arden's career was wide-ranging, from movies to radio to theater to television, and spanned almost 60 years. She played the title roles in "Hello, Dolly" and "Auntie Mame" on the stage, and had many movie roles, like "Grease", "At the Circus" (with Groucho Marx), and "Mildred Pierce" (for which she was nominated for a best supporting actress Oscar).  Her largest body of work was for "Our Miss Brooks", a radio program from 1948 to 1957, a feature film in 1956, and a television program from 1952 to 1956, about a teacher.  She has two stars on the Hollywood Walk of Fame -- one for radio and one for television.

Let's get back to "Cover Girl", though.  Made in 1944, Arden plays Cornelia "Stonewall" Jackson, assistant to magazine publisher, John Coudair.  Coudair sees Rusty (Rita) at Danny's (Gene's) nightclub, and remembers his long ago love for her grandmother, Maribelle (also Rita).  Drama ensues.  Cornelia perfectly captures the character of the often put-upon, ill-used, overworked assistant with a witty comeback for everything.  Personally, I think she steals every scene she's in -- if it's not her zingers, it's her FABULOUS wardrobe. Designed by Travis Banton, Muriel King, and Gwen Wakeling, all of the costumes in this movie are crazy awesome. But Cornelia's costumes, combined with her amazing accessories, are our favorites.  Brooches, hats, large Lucite ball buttons (be still my heart!), bracelets, and color.  Lots of color.

Yay, Eve!

That's how I think of Eve Arden.  Colorful.  Bold.  With her signature voice (think deep, raspy), and her smart-ass comebacks, she puts the "character" in "character actor".  She may be a background character, but she's memorable.  And she's got the personality to carry off the costumes.  I mean, it takes quite the lady to pull off those hats in the movie -- and not just anyone can wear three large brooches and a chunky bracelet and those huge ball buttons on her jacket!

I need those Lucite balls!

So, if you haven't seen it, you should.  Put it on your calendar -- I checked, and it's coming on Turner Classic Movies on April 7th, at 1:30 pm.  We'll be watching it...

Notice the matching buttons, bowtie, and hat.  <swoon>

John Coudair:  What would you do if your youth should walk in that door?
Cornelia "Stonewall" Jackson:  I'd put braces on its teeth.

You've never seen "Cover Girl"???

I need another brooch!!

They should pay me more...