1939

Articles from 1939

Vivien Leigh to Play Scarlet
(Photoplay Magazine, 1939)

A short notice from a Hollywood fan magazine announcing that Vivien Leigh (born Vivian Mary Hartley: 1913 – 1967), an actress largely unknown to U.S. audiences, had been cast to play the roll of ‘Scarlet’. Accompanied by two breathtakingly beautiful color images of the actress, this short announcement outlines her genetic makeup, her previous marriage to Leigh Holman, and her thoughts concerning the upcoming roll.


Click here to read magazine articles about D.W. Griffith.

Gone with Wind Begins Shooting
(Photoplay Magazine, 1939)

Jack Wade, one of the many Hollywood reporters for Photoplay, must have let loose a big girlish squeal when he got word from the Selznick-International man that he would not get bounced off the set of Gone with the Wind
if he were to swing by to take a look.

First of all, a report on Vivien Leigh…Hollywood already agreed that she’s the happiest choice any one could have made. Even swamp angels from deepest Dixie put their okay on her accent…Clark Gable looks like the real Big-Man-From-the-South. In a black frock coat, starched bosom and ruffles, he makes a menacing, impressive Rhett, and he’s a little pleased about it, too.

The Visual Accuracy of the ‘Gone with the Wind’
(Click Magazine, 1939)

This page from Click Magazine contrasts three Civil War photographs by Matthew Brady (1822 – 1896) with three production stills snapped on the sets of Gone with the Wind. The editors refused to weigh-in on the slowly building case regarding Hollywood’s questionable abilities to portray historic events with any degree of accuracy, preferring instead to praise the filmmakers as to how carefully they checked details.


The Matthew Brady images provided on the attached page only serves to condemn the otherwise flawless work of Gone with the Wind costume designer Walter Plunkett (1902 – 1982) who historians and reënactors have slandered through the years for failing to fully grasp the look of the era.

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The Visual Accuracy of the ‘Gone with the Wind’
(Click Magazine, 1939)

This page from Click Magazine contrasts three Civil War photographs by Matthew Brady (1822 – 1896) with three production stills snapped on the sets of Gone with the Wind. The editors refused to weigh-in on the slowly building case regarding Hollywood’s questionable abilities to portray historic events with any degree of accuracy, preferring instead to praise the filmmakers as to how carefully they checked details.


The Matthew Brady images provided on the attached page only serves to condemn the otherwise flawless work of Gone with the Wind costume designer Walter Plunkett (1902 – 1982) who historians and reënactors have slandered through the years for failing to fully grasp the look of the era.

The Producer: David O. Selznick
(Film Daily, 1939)

Observers of the career of David O. Selznick see his enterprises this year the culmination of a dream….The most lavish motion picture project ever conceived, Gone With the Wind, is already acknowledged as Selznick’s chef d’oeuvre and the picture destined to mark the peak of cinema progress during the past 50 years. Executives of Metro-Goldwyn-Mayer, which company released the picture, as well as those of Selznick International who have seen it, are unanimous in declaring it the greatest picture ever made, and the most frequent comment heard today from those who have observed it in production is ‘No one could have made it but Selznick.’


Selznick produced blockbuster after blockbuster. He was awarded two Academy Awards during his Hollywood reign for ‘Outstanding Production’: one for Gone With the Wind in 1939 and another one year later for Rebecca.

The Wonderful World of Adjectives
(Pathfinder Magazine, 1939)

To grammarians, a verb is the strongest part of speech, but not to radio advertisers. In a survey of 15 national radio programs, the entertainment weekly VARIETY has found that adjectives receive the most voice emphasis and the most repetition. On one program, 28 adjectives were spoken in 15 minutes.


Click here to read about how the mass-marketing techniques of the W.W. I era was used to promote KKK membership…

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‘The Tenth Man”
(Pathfinder Magazine, 1939)

This is a light history of the African-American people; weak in some spots, informative in others, it’s greatest value lies in telling the story of Blacks in the Thirties.

Because the colored race comprises almost a 10th of the population of the United States, sociologists sometimes refer to the Negro as ‘the Tenth Man.’ As such, he is little known to the other nine. Yet there are 12,500,000 colored persons in the nation – black, brown and some so white that 10,000 pass over the color line every year to take up life as whites.

No, Joe Biden, U.S. Relations With Germany Were Bad Before W.W. II
(Pathfinder Magazine, 1939)

During the Presidential debate of October 22 (2020) Vice President Biden remarked that the American diplomatic corps made nice with Hitler up until the German invasion of Poland – the attached article from 1939 refutes this statement:

Eight months prior to the day when W.W. II would commence, diplomatic relations between Berlin and Washington got ugly; the carefully controlled German press declared that matters between the two camps were at their lowest point since 1917. Hitler’s diplomats demanded apologies and the Chairman of the Senate Foreign Relations Committee clarified the American position by stating that the American people have a general dislike for Fascism. The Department of the Navy announced that it was expanding its presence in the Atlantic.

The Man Behind Mussolini
(Ken Magazine, 1939)

This short, slanderous profile of Italy’s Victor Emmanuel III (1869 – 1947) is accompanied by a caricature of the potentate:

He chose Mussolini in 1922 in preference to dictatorship by Premiere (Luigi) Facta, aided him in attaining supreme power…Hasn’t had any choice about anything since.

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‘Cash and Carry”
(Pathfinder Magazine, 1939)

Cash and carry was a diplomatic trade policy set in place by the FDR administration; it was crafted during a special session of the U.S. Congress on September 21, 1939, as a result of the outbreak of the Second World War in Europe. It replaced the Neutrality Act of 1937, by which belligerent parties would purchase only non-military goods from the United States so long as the client states in question paid in cash at the time of purchase and assumed full responsibility for transportation. The 1939 Cash and carry revision allowed for the purchasing of military arms to belligerents on the same cash-and-carry basis. The purpose of the policy was to maintain neutrality between the United States and European nations while giving aid to Britain by allowing them to buy non war materials.


Shortly after the 1940 election, British Prime Minister Churchill told FDR that Britain could no longer afford to buy military supplies under the code of cash and carry and a new agreement needed to be agreed upon. The President then persuaded Congress to swap cash-and-carry with Lend-Lease – a new piece of legislation that granted the president authority to sell, exchange, lend, or lease war materiel to any nation whose defense was vital to U.S. security.

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Munchkin Gossip
(Stage Magazine, 1939)

From the Hot From Hollywood page in STAGE MAGAZINE came this tidbit reporting on the curious events taking place on the sets of ‘The Wizard of Oz’:

The cast was extraordinary, from the stars Frank Morgan, Judy Garland, Ray Bolger, Bert Lahr, Jack Haley to Toto, the Carin Terrier. But of them all, the most utterly enchanting were the midgets, two hundred and twenty-five of them, with their doll faces, their plastered hair that looked as though it had been painted on their heads, the little felt flowers that grew out of their shoes, the bells that jingled from their sleeves. They, of course, were in costume for the good little Munchkins.


Another article about this incredible film can be read here…

The W.P.A. Arts Projects Closed Due to Communist Tampering
(Ken Magazine, 1939)

This 1939 magazine article addressed the matter of the communist organization Workers Alliance perverting the arts organizations that operated within the Federal Works Projects Administration (WPA), thus forcing the government agency to close:

When the arts projects of the WPA were instituted, many capable and culturally progressive individuals throughout the country hailed them as a banner raised against the gloomy depression sky to form a rallying point for youthful and ambitious artists whose task it was to carry the torch of aesthetic advancement on to that future time when we envisaged the return of ‘prosperity’…yet the obvious control of the arts projects by the communist party through its stooge, the Workers Alliance has forced the hand of Congress to abolish the agency.


CLICK HERE to read about African-Americans during the Great Depression.

A Profile of Shirley Temple
(Film Daily, 1939)

As a phenomenon in the history of the show business and among all children, Shirley Temple (1928 – 2014) stands as absolutely unique. For four successive years she has led all other stars in the film industry as the number one box office attraction of the world. But Shirley’s influence has been wider than this – there is no country in the world, both civilized and uncivilized where at some time or another her pictures have not been shown.

In a few weeks Shirley’s fan mail reached avalanche proportions, with with the result in her next film, Bright Eyesstyle=border:none, Shirley was starred. The old contract was torn up and the Temples were given a new one.

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Hugh Harmon & Rudolf Ising: Animators
(Film Daily, 1939)

A short account regarding Hugh Harman (1903 – 1982) and Rudy Ising (1903 – 1992) who were a team of Oscar winning animators best known for founding the animation studios at Warner Brothers and Metro-Goldwyn-Mayer.

In the last decade the animated cartoon has developed from its early grotesque form to its present lofty state and this development is really a miracle in art and achievement in entertainment… The significance of the animated cartoon can be realized only when we consider its world wide appeal and power of influence.

The same year this article went to press, Harmon-Ising produced their much admired anti-war cartoon, Peace on Earth.

Musslolini And The Pope: Friction
(Newsweek Magazine, 1939)

On June 29, 1931, Pope Pius XI issued an encyclical letter that condemned Italian fascism’s “pagan worship of the State” and “revolution which snatches the young from the Church and from Jesus Christ, and which inculcates in its own young people hatred, violence and irreverence.” The Pope irritated Mussolini to a further degree by labeling the Italian Fascist government as anti-Catholic after Il Duce put the kibosh on numerous Catholic youth organizations throughout the land. A Truce was agreed upon but as Mussolini grew closer to the Nazis later in the decade, and the battle reemerged.

African-Americans During the Great Depression
(Pathfinder Magazine, 1939)

Written during the later years of the Great Depression, these columns summarize the sad lot of America’s Black population – their hardships, ambitions, leadership, and where they tended to live.

When the Depression struck, Negroes were the first to lose their jobs. Today, 1,500,000 colored adults are unemployed.


A 1938 article about the hardships of the Southern States during the Great Depression can be read here…


Click here to learn about the origins of the term Jim Crow.

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