scriptgirl
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Some session, huh. N?
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Ava Gardner #1
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scriptgirl
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It's cute we're trying to match each other!
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The Record
The Bible (10 p.m.) Vision TV launches a selection of biblical films this week as a prelude to the Easter celebration. Director John Huston's 1966 retelling of the first 22 chapters of the book of Genesis is long on sincerity and short on production/performance values.
Stars George C. Scott as Abraham, Ava Gardner as his wife Sarah and Peter O'Toole as an angel of the Lord.
The Bible (10 p.m.) Vision TV launches a selection of biblical films this week as a prelude to the Easter celebration. Director John Huston's 1966 retelling of the first 22 chapters of the book of Genesis is long on sincerity and short on production/performance values.
Stars George C. Scott as Abraham, Ava Gardner as his wife Sarah and Peter O'Toole as an angel of the Lord.
scriptgirl
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ebay
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ebay
scriptgirl
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Filmlair
While Gone With the Wind saw Clark Gable's Rhett Butler enjoy an emphatic sparring of hard-to-get with Southern Belle Scarlett O'Hara, in John Ford's Mogambo his safari leader, Victor Marswell, has to make significantly less effort to hold a woman's gaze. The years may have piled on but Ava Gardner's Eloise Kelly is infatuated with him a mere twenty minutes into the romantic adventure, and it's an infatuation that does not die down. But if ever you found yourself torn between the talons of two women (a frightening thought in itself), you'd be hard pushed to find two better birds than the fiery Gardner and the precious Grace Kelly, who find themselves consigned to the bottom end of a truly memorable love triangle.
Eloise and Victor's early chemistry and brief clinch are halted by the introduction of animal-lovers Donald Nordley and his wife Linda, to whom Gable's familiar insensitive brute takes more than a fancy to. The attraction is mutual, but with Eloise stranded on the wildlife range indefinitely, and increasingly left out in the cold by the besotted Victor, her sharp wit and bold outspokenness threaten to escalate the situation further. Ava Gardner, who I'd only previously seen in Stanley Kramer's drone, apocalyptic On the Beach, is one of the few reasons the film is enjoyable. Her charisma, executed wildly in head-flicks, eye-rolls, and the occasionally cheeky smirk, reveals the dark and daring incisiveness to a dangerous and exciting character. Her brashness is apparent -- humour spearheaded, red lipstick smeared, bosom ablaze -- and so Eloise is the passionate, tarnished harlot to Linda's graceful, wouldn't-say-boo-to-a-goose purity that makes them counterparts in both love and life.
As Mogambo presses on it becomes clear that Eloise is really the only interesting character in the film (or at least Gardner's is the only performance that digs deep enough into her character), but that doesn't stop the love triangle from keeping your attention, or indeed from encouraging you to draw conclusions from it. The confrontation of such an awkward group dynamic feels in itself rather cavalier, and as the plot unravels further Mogambo acknowledges that sex, passion, deception, can manifest itself in the strangest and most unpredictable of ehttp://1.bp.blogspot.com/_LTgL0NxKp_M/SO-YmPHbwyI/AAAAAAAAAoo/yKAXViU3tis/s1600-h/amogambo2.jpgventualities. The limited number of characters in the film, and its compact setting, makes the infidelity all the more lewd, absurd, but dare I say it naturalistic; a flicker of nature within the midst of nature, if you will. But that really is as far as Mogambo endeavours to explore the reasons for its African wilderness, which become ever more isolated as a part of MGM's fanciful, technicolour extravagance. A word of thanks to the Kenyan government precedes the film (a self-congratulatory pat-on-the-back if ever there was one) but there's minimal exploration of African culture, showcasing a plethora of wildlife but very little else, and the use of Kenya as a base for Mogambo's action translates as disingenuous theatre.
The entire debacle may come across as a misogynistic venture, and this is an accusation largely warranted. Gable has all the power and authority, stemming from his position as leader of the safari and superior knowledge of this outdoor setting, and so his ease of assertion in the film, particularly in terms of his relationships with the two women, are understandable to a point. It's interesting that both Eloise and Linda (different as they are) emerge as rather daring characters, both willing to spurn their Western world for a holiday romance. Kelly's Linda is bored and repressed, and convincingly swept away by a man and climate relatively alien to her, but Gardner's Eloise is a different proposition altogether. Oozing with confidence, sex appeal, and general worldliness her loose cannon struggles to accept Victor's feelings for Linda, but confusingly ends up sanctioning his predatory behaviour at the end of the film.
Mogambo ultimately feels like a bit of a cop-out. With snippets of culture and bites of common sense, too much of the film feels token and frivolous. And when attempting to make light of its moody, jealous, contemptuous relationships, it just doesn't cut it. But for a story that never needed Kenya the women in it need this elder Rhett Butler like a dog needs a bone, and their cravings make for mighty juicy viewing
While Gone With the Wind saw Clark Gable's Rhett Butler enjoy an emphatic sparring of hard-to-get with Southern Belle Scarlett O'Hara, in John Ford's Mogambo his safari leader, Victor Marswell, has to make significantly less effort to hold a woman's gaze. The years may have piled on but Ava Gardner's Eloise Kelly is infatuated with him a mere twenty minutes into the romantic adventure, and it's an infatuation that does not die down. But if ever you found yourself torn between the talons of two women (a frightening thought in itself), you'd be hard pushed to find two better birds than the fiery Gardner and the precious Grace Kelly, who find themselves consigned to the bottom end of a truly memorable love triangle.
Eloise and Victor's early chemistry and brief clinch are halted by the introduction of animal-lovers Donald Nordley and his wife Linda, to whom Gable's familiar insensitive brute takes more than a fancy to. The attraction is mutual, but with Eloise stranded on the wildlife range indefinitely, and increasingly left out in the cold by the besotted Victor, her sharp wit and bold outspokenness threaten to escalate the situation further. Ava Gardner, who I'd only previously seen in Stanley Kramer's drone, apocalyptic On the Beach, is one of the few reasons the film is enjoyable. Her charisma, executed wildly in head-flicks, eye-rolls, and the occasionally cheeky smirk, reveals the dark and daring incisiveness to a dangerous and exciting character. Her brashness is apparent -- humour spearheaded, red lipstick smeared, bosom ablaze -- and so Eloise is the passionate, tarnished harlot to Linda's graceful, wouldn't-say-boo-to-a-goose purity that makes them counterparts in both love and life.
As Mogambo presses on it becomes clear that Eloise is really the only interesting character in the film (or at least Gardner's is the only performance that digs deep enough into her character), but that doesn't stop the love triangle from keeping your attention, or indeed from encouraging you to draw conclusions from it. The confrontation of such an awkward group dynamic feels in itself rather cavalier, and as the plot unravels further Mogambo acknowledges that sex, passion, deception, can manifest itself in the strangest and most unpredictable of ehttp://1.bp.blogspot.com/_LTgL0NxKp_M/SO-YmPHbwyI/AAAAAAAAAoo/yKAXViU3tis/s1600-h/amogambo2.jpgventualities. The limited number of characters in the film, and its compact setting, makes the infidelity all the more lewd, absurd, but dare I say it naturalistic; a flicker of nature within the midst of nature, if you will. But that really is as far as Mogambo endeavours to explore the reasons for its African wilderness, which become ever more isolated as a part of MGM's fanciful, technicolour extravagance. A word of thanks to the Kenyan government precedes the film (a self-congratulatory pat-on-the-back if ever there was one) but there's minimal exploration of African culture, showcasing a plethora of wildlife but very little else, and the use of Kenya as a base for Mogambo's action translates as disingenuous theatre.
The entire debacle may come across as a misogynistic venture, and this is an accusation largely warranted. Gable has all the power and authority, stemming from his position as leader of the safari and superior knowledge of this outdoor setting, and so his ease of assertion in the film, particularly in terms of his relationships with the two women, are understandable to a point. It's interesting that both Eloise and Linda (different as they are) emerge as rather daring characters, both willing to spurn their Western world for a holiday romance. Kelly's Linda is bored and repressed, and convincingly swept away by a man and climate relatively alien to her, but Gardner's Eloise is a different proposition altogether. Oozing with confidence, sex appeal, and general worldliness her loose cannon struggles to accept Victor's feelings for Linda, but confusingly ends up sanctioning his predatory behaviour at the end of the film.
Mogambo ultimately feels like a bit of a cop-out. With snippets of culture and bites of common sense, too much of the film feels token and frivolous. And when attempting to make light of its moody, jealous, contemptuous relationships, it just doesn't cut it. But for a story that never needed Kenya the women in it need this elder Rhett Butler like a dog needs a bone, and their cravings make for mighty juicy viewing
scriptgirl
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Olfactorama
After my screen test, the director clapped his hands gleefully and yelled: "She can't talk! She can't act! She's sensational!” – Ava Gardner
Ava Gardner was born with a face that would be her destiny.
Her father was a poor North Carolina tobacco farmer who died early. After his demise, her mother ran a boardinghouse so that she and her daughters could survive. In later interviews, Ava would say that shoes felt odd on her feet for many years, and, until the end of her life, she went without them at every opportunity.
Her discovery is one of those Hollywood legends that are too perfect to be anything but true. Ava’s brother-in-law, who lived in Manhattan, was a photographer. He photographed her while visiting North Carolina, and put the photo in his display window on Fifth Avenue. A friend, who was a clerk at Loew’s but liked to pass himself off as an MGM talent scout, happened by. He told the photographer that he should send the picture to MGM.
The studio brought Ava to Hollywood, and signed her to a standard contract, but she made twenty-one movies – mostly the fill-the-pipeline “product” that Mr. Mayer insisted upon – before she finally hit big in “The Killers” as Kitty Collins, the ultimate film noir heroine, in 1946. In the years before that, she was generally looked upon and laughed at by the town’s A-list crowd of writers, directors and stars as a gorgeous, but ignorant, hayseed. She was alluring enough to capture MGM’s boy-wonder Andy Hardy, Mickey Rooney and, later, the cynical bandleader Artie Shaw, but both marriages failed as her star rose.
Even Ava would say she knew she wasn’t much of an actress in those days. She knew exactly what her currency was. Without much life experience, no schooling of any consequence, no travel except in the cocoon world of movie-making, she ultimately succumbed to the debauchery around her, and spent many years in the company of Frank Sinatra, marrying and divorcing him, trashing hotel suites with him, unable to live without, or with, him. The irony of all this was that she was getting better as an actress, as an artist. The film in which she gave her first fine performance, “Bowhani Junction,” was ultimately seen as schedule-filler by the industry. Gardner played an Anglo-Indian woman torn between loyalties during the revolution for India’s independence. Directed by George Cukor, it was judged to be too long, too difficult for the masses, and was hacked to pieces by the powers-that-be at MGM.
After that, Gardner continued to make films and carry on her tumultuous relationship with Sinatra. She moved to Spain, having fallen in love with its duende (soulful spirit) while making “The Sun Also Rises” there. There are terrible stories about this time in her life, Ava and her bullfighters, but she did nothing her male counterparts weren’t doing, and she lived as she pleased. It is said that her greatest performance, as the libertine hotel-keeper Maxine in “Night of the Iguana,” was simply Ava being Ava.
In 1948, the venerable British perfume house Creed made “Fleurs de The Rose Bulgare” for Ava, and while this may not have been the first celebrity licensing perfume deal, it had to be one of the first in the modern era. But Fleurs de The Rose Bulgare seems very unlike Ava. It’s a clean, lemony rose with lots of other citrus notes.
Now, it’s quite possible that Ava wore this; who wouldn’t wear a perfume created especially for her? But, knowing what we know about her, it is somewhat difficult to believe that she wanted to smell like an English rose garden.
What else do you think Ava wore?
What modern scents would she be wearing now?
After my screen test, the director clapped his hands gleefully and yelled: "She can't talk! She can't act! She's sensational!” – Ava Gardner
Ava Gardner was born with a face that would be her destiny.
Her father was a poor North Carolina tobacco farmer who died early. After his demise, her mother ran a boardinghouse so that she and her daughters could survive. In later interviews, Ava would say that shoes felt odd on her feet for many years, and, until the end of her life, she went without them at every opportunity.
Her discovery is one of those Hollywood legends that are too perfect to be anything but true. Ava’s brother-in-law, who lived in Manhattan, was a photographer. He photographed her while visiting North Carolina, and put the photo in his display window on Fifth Avenue. A friend, who was a clerk at Loew’s but liked to pass himself off as an MGM talent scout, happened by. He told the photographer that he should send the picture to MGM.
The studio brought Ava to Hollywood, and signed her to a standard contract, but she made twenty-one movies – mostly the fill-the-pipeline “product” that Mr. Mayer insisted upon – before she finally hit big in “The Killers” as Kitty Collins, the ultimate film noir heroine, in 1946. In the years before that, she was generally looked upon and laughed at by the town’s A-list crowd of writers, directors and stars as a gorgeous, but ignorant, hayseed. She was alluring enough to capture MGM’s boy-wonder Andy Hardy, Mickey Rooney and, later, the cynical bandleader Artie Shaw, but both marriages failed as her star rose.
Even Ava would say she knew she wasn’t much of an actress in those days. She knew exactly what her currency was. Without much life experience, no schooling of any consequence, no travel except in the cocoon world of movie-making, she ultimately succumbed to the debauchery around her, and spent many years in the company of Frank Sinatra, marrying and divorcing him, trashing hotel suites with him, unable to live without, or with, him. The irony of all this was that she was getting better as an actress, as an artist. The film in which she gave her first fine performance, “Bowhani Junction,” was ultimately seen as schedule-filler by the industry. Gardner played an Anglo-Indian woman torn between loyalties during the revolution for India’s independence. Directed by George Cukor, it was judged to be too long, too difficult for the masses, and was hacked to pieces by the powers-that-be at MGM.
After that, Gardner continued to make films and carry on her tumultuous relationship with Sinatra. She moved to Spain, having fallen in love with its duende (soulful spirit) while making “The Sun Also Rises” there. There are terrible stories about this time in her life, Ava and her bullfighters, but she did nothing her male counterparts weren’t doing, and she lived as she pleased. It is said that her greatest performance, as the libertine hotel-keeper Maxine in “Night of the Iguana,” was simply Ava being Ava.
In 1948, the venerable British perfume house Creed made “Fleurs de The Rose Bulgare” for Ava, and while this may not have been the first celebrity licensing perfume deal, it had to be one of the first in the modern era. But Fleurs de The Rose Bulgare seems very unlike Ava. It’s a clean, lemony rose with lots of other citrus notes.
Now, it’s quite possible that Ava wore this; who wouldn’t wear a perfume created especially for her? But, knowing what we know about her, it is somewhat difficult to believe that she wanted to smell like an English rose garden.
What else do you think Ava wore?
What modern scents would she be wearing now?
scriptgirl
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Passionate Moviegoer
And i also agree about movie stars and singing: Natalie Wood did her own singing in GYPSY, and hre voice (which cracks a lot) is charming; Audrey Hepburn sounded much better with her own voice in FUNNY FACE (has anyone ever sang "How Long Has This Been Going On?" with more poignance?), and one of the extras on the DVD of the 1951 SHOWBOAT has the tracks of Ava Gardner doing her own singing, and those tracks have the sensuality that Gardner brought to her singing of "Comin' Through the Rye" in MOGAMBO (where she was allowed to use her own voice). If movie stars have distinctive voices (and most do), then it's always better to hear them do their own singing, because it completes their performance.
And i also agree about movie stars and singing: Natalie Wood did her own singing in GYPSY, and hre voice (which cracks a lot) is charming; Audrey Hepburn sounded much better with her own voice in FUNNY FACE (has anyone ever sang "How Long Has This Been Going On?" with more poignance?), and one of the extras on the DVD of the 1951 SHOWBOAT has the tracks of Ava Gardner doing her own singing, and those tracks have the sensuality that Gardner brought to her singing of "Comin' Through the Rye" in MOGAMBO (where she was allowed to use her own voice). If movie stars have distinctive voices (and most do), then it's always better to hear them do their own singing, because it completes their performance.
scriptgirl
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Havering On
Ava Gardener and Frank Sinatra's love affair and marriage were the very stuff of Hollywood legend. There's no question that she was one of the most beautiful actresses of her generation, or any other for that matter. When the film Showboat in which Ava starred with Howard Keel was released MGM decided not to use her real singing voice but instead dubbed Annette Warren's voice onto the soundtrack. I've never heard Ava sing her two songs from the film before, but here, thanks to the wonder of Youtube is Ava singing, Can't Help Lovin Dat Man and Bill. They should have left her voice on the movie.
Ava Gardener and Frank Sinatra's love affair and marriage were the very stuff of Hollywood legend. There's no question that she was one of the most beautiful actresses of her generation, or any other for that matter. When the film Showboat in which Ava starred with Howard Keel was released MGM decided not to use her real singing voice but instead dubbed Annette Warren's voice onto the soundtrack. I've never heard Ava sing her two songs from the film before, but here, thanks to the wonder of Youtube is Ava singing, Can't Help Lovin Dat Man and Bill. They should have left her voice on the movie.
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carolina blogspot
Meanwhile, Night of the Iguana, the John Huston film made in Mexico and starring Smithfield native Ava Gardner, will be shown free, outdoors in Smithfield Town Hall Park Thursday (9/25) at 8 pm. The screening is part of the 4th annual Ava Gardner Film Festival that lasts through Saturday.
Richard Burton stars as a disgraced preacher-turned-tour-operator, seduced by the gingham hotpants on an underage American tourist from a small Baptist town--one perhaps not wildly unlike Smithfield. Gardner plays not the blonde Lolita, but a middle-aged American motel owner, living in Mexico on her own terms.
While the film, based on a Tennessee Williams play, serves up some sultry stereotypes about Mexico, it also tackles sexual repression, and ends up offering an impassioned plea for sexual tolerance and personal freedom.
Filmed in Puerta Vallarta in 1963, Night of the Iguana brought a flood of American tourism to the town--for better and worse. Here, one travel writer describes the film's long-term effects on Puerta Vallarta.
The Ava Gardner Film Festival includes quirky short subjects and docs on a wide range of other subjects, as well as several of her full-blown Hollywood features. Get the whole picture here.
Also on the festival calendar: a musical performance by Clang Quartet's Scotty Irving paired with the doc film about him, Armor of God, at 7 pm on Saturday (9/27).
Meanwhile, Night of the Iguana, the John Huston film made in Mexico and starring Smithfield native Ava Gardner, will be shown free, outdoors in Smithfield Town Hall Park Thursday (9/25) at 8 pm. The screening is part of the 4th annual Ava Gardner Film Festival that lasts through Saturday.
Richard Burton stars as a disgraced preacher-turned-tour-operator, seduced by the gingham hotpants on an underage American tourist from a small Baptist town--one perhaps not wildly unlike Smithfield. Gardner plays not the blonde Lolita, but a middle-aged American motel owner, living in Mexico on her own terms.
While the film, based on a Tennessee Williams play, serves up some sultry stereotypes about Mexico, it also tackles sexual repression, and ends up offering an impassioned plea for sexual tolerance and personal freedom.
Filmed in Puerta Vallarta in 1963, Night of the Iguana brought a flood of American tourism to the town--for better and worse. Here, one travel writer describes the film's long-term effects on Puerta Vallarta.
The Ava Gardner Film Festival includes quirky short subjects and docs on a wide range of other subjects, as well as several of her full-blown Hollywood features. Get the whole picture here.
Also on the festival calendar: a musical performance by Clang Quartet's Scotty Irving paired with the doc film about him, Armor of God, at 7 pm on Saturday (9/27).
scriptgirl
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American Suburbs
Frank Horvat : Are these the good moments of your life ?
Helmut Newton : Sometimes. A other times I hate it. When I think :"I shouldn't have gone into this, it was a wrong decision, I am too old to waste my time on that ****." When I did that sitting with Ava Gardner, that one photograph with the cigarette, I hated her so much, and she hated me so much, while it lasted, the sitting was dreadful. At one point I thought : "I'll walk out of here, I'll take the plane back." Eventually I went on, I did seven rolls, I knew I had to get it, it was for the Egoïste, the editor did not have much money, she had spent on the hotel, the flight and everything. Had it been for Vogue, I would not even have bothered.
Frank Horvat : Are these the good moments of your life ?
Helmut Newton : Sometimes. A other times I hate it. When I think :"I shouldn't have gone into this, it was a wrong decision, I am too old to waste my time on that ****." When I did that sitting with Ava Gardner, that one photograph with the cigarette, I hated her so much, and she hated me so much, while it lasted, the sitting was dreadful. At one point I thought : "I'll walk out of here, I'll take the plane back." Eventually I went on, I did seven rolls, I knew I had to get it, it was for the Egoïste, the editor did not have much money, she had spent on the hotel, the flight and everything. Had it been for Vogue, I would not even have bothered.
scriptgirl
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Grosby Group
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ebay
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