Hollywood History – Page 10 – Old Magazine Articles

When Prestige was Thrust Upon Hollywood’s ”Cameramen”
(Stage Magazine, 1937)

Shortly before this article went to press, that particular member of the Hollywood film crew called the director of photography (DP) was treated a wee-bit better than other crew members were likely to be treated (but not that much better). Granted, the director and producer knew his name and his body of work – but his screen credit was still mixed among all the other names of the crew (if listed at all) – and this article points out that much of that changed in the Thirties.

Cosmetic Surgery in Hollywood
(Photoplay Magazine, 1930)

Published in a 1930 Hollywood fan magazine, this is the story of the earliest plastic surgeons and the rise of cosmetic surgery in Hollywood:

Telling the actual names of all the stars who have been to the plastic surgeons is an impossible task. They won’t admit it, except in a few isolated instances…It is only lately that a few of them are beginning, not only to to admit that they’ve had their faces bettered, but to even go so far as to publicly announce it.

Hollywood’s Case Against Monogamy
(Photoplay Magazine, 1938)

Technologies change, power changes, tastes change, but if anything has remained a constant in the West coast film colony it has been the fickle romantic tastes of all the various performers, directors and producers who toil in the vineyards of Hollywood. An old salt once remarked that if a Hollywood marriage lasts longer than milk it can be judged a success; with this old saw in mind, a wise anthropologist sat down, put pen to paper and seriously attempted to understand mating habits of Hollywood, California.

Click here to read a 1938 memoir by a Los Angeles prostitute.

Angela Lansbury Arrives in Hollywood
(Rob Wagner’s Script, 1945)

Those sly dogs at SCRIPT MAGAZINE! They printed the smiling mug of the twenty-five year-old Angela Lansbury (b. 1925) on the cover of their rag, briefly praising her for being the youngest performer to have ever been nominated for an Academy Award (she soon won the 1944 Best Supporting Actress statue for Gaslight), and ran a profile of the lass on a page eight article that was misleadingly titled Our Cover Girl, only to devote 85% of the columns to an illustrious forebear.

Mickey Rooney, RIP
(Collier’s Magazine, 1940)

In 1940 Mickey Rooney (né Joe Yule, Jr.; b. 1920 – 2014) had replaced Shirley Temple as the number one box-office draw, after having steadily performed before the cameras from the age of six onward. Rooney had been jockeying for first place since he began playing the title roll in the Andy Hardy films just two and a half years earlier.

With the onslaught of the Second World War the sands of Hollywood shifted beneath his feet, creating a plethora of new stars and the need for different sorts of films – from that point on he only appeared in supporting rolls. In 1982 Rooney remarked:

When I was 19 years old, I was the number one star of the world for two years. When I was 40, nobody wanted me. I couldn’t get a job.

Charlie Chaplin Joins With Pickford, Fairbanks and Griffith to Form United Artists
(Film Daily, 1939)

Restless with the manner in which the film colony operated, Chaplin joined forces with three other leading Hollywood celebrities to create United Artists; a distribution company formed to release their own films. Attached is a printable history of United Artists spanning the years 1919 through 1939 which also outlines why the organization was so original:

[United Artists] introduced a new method into the industry. Heretofore producers and distributors had been the employers, paying salaries and sometimes a share of the profits to the stars. Under the United Artists system, the stars became their own employers. They had to do their own financing, but they received the producer profits that had formerly gone to their employers and each received his share of the profits of the distributing organization.

Charlie Chaplin Joins With Pickford, Fairbanks and Griffith to Form United Artists
(Film Daily, 1939)

The Unusual Case of Henry Fonda
(Coronet Magazine, 1953)

Click here to read an article about Jane Fonda at the beginning of her career. Click here to read about

Charlie Chaplin: the Man
(Photoplay Magazine, 1930)

Attached is a three page article about Charlie Chaplin that first appeared in 1930 and contains far more information about the man than you might possibly care to know:

He is a splendid boxer and a keen boxing fan…He plays bridge well…He loves traveling and dislikes flying…He likes to be alone…He likes to talk…He swears now and then…He did not go to school…

Henri Landru, Monsieur Verdux and Charlie Chaplin
(Rob Wagner’s Script, 1947)

Attached is an article about the Charlie Chaplin film, Monsieur Verdux (1947) and the monstrous beast Henri Landru -the French murderer on whom the story is loosely based. This article was written by Gordon Kahn, remembered chiefly in our own time as one of the blacklisted Hollywood screenwriters of the post-World War II period. Not too long after this article was written he went into self-exile in Mexico.

The Show-Biz Blood of Cecil B. DeMille
(Pic Magazine, 1941)

At the age of 63, after 44 years in show business, Cecil B. De Mille is still producing. He can’t stop and he probably never will. He is first, last and all the time a showman. The show business is in his blood, and whether he is on a set or taking his leisure at home, his heart and mind are in the theater. He loves to have people around him so that he can play a part, for consciously or unconsciously, he is always acting… C.B.’s father was an actor and playwright, and later a partner of David Belasco. His mother was an actress, and later a very successful play agent.

The article goes into more depth outlining De Mille various triumphs in silent film and his work on The Squaw Man.

Lew Ayres at Twenty
(Photoplay Magazine, 1930)

Here is a profile of the actor Lew Ayres (1908 – 1996) that was published, quite coincidentally, shortly before the release of ALL QUIET ON THE WESTERN FRONT (Universal):

Naturally a great deal depends on the outcome of this picture. Lew is not the type that will go on for years as a moderate success. He will either be a tremendous hit or or a failure.

Click here to read about Lew Ayres and his status as a conscientious objector during the second World War.

Red Tactics in Hollywood
(Photoplay Magazine, 1940)

American political parties have not been the only folks to visit Beverly Hills – hat-in-hand; Soviet-backed Reds have done it, too. This 1940 article goes into some detail explaining all the various false fronts that American Communists would erect in order to attract Hollywood’s empathetic pretty boys – a tribe that is so easily separated from their wealth. Once an actor was hooked, they were steadily relied upon by the Reds to cough-up the do-re-mi without question; if they didn’t – they got the works.

Walter Winchell has already passed on to Washington documentary evidence proving that thousands of dollars contributed by Hollywood to innocent-sounding organizations eventually wound up in the hands of Communist leaders. Police and other investigatory groups have gone about accumulating evidence of the conspiracy.

One of the many Communist-front advocacy groups that milked Hollywood of much of its wealth was called theIndependent Citizen’s Committee of the Arts, Sciences and Professions; actress Olivia de Havilland was one of their willing dupes until she worked with the FBI and helped to bring them down.

Rube Goldberg on Hollywood
(Photoplay Magazine, 1930)

Hired to write dialogue for the king makers at Twentieth Century Fox, cartoonist Rube Goldberg (1890 – 1970) jotted down his impressions of 1930s Hollywood.

The chief mogul did all the ordering and I must say that he knew food. The lavish way in which he ordered bore out some of the glittering tales I had read about the grandeur of the movies. I think I ate six helpings of caviar and four tenderloin steaks. I wanted to make them believe I was no slouch myself.

If you would like to read a Rube Goldberg interview from 1914, click here.

Howard Hughes Buys Multicolor
(Film Spectator, 1930)

When the deep-pocketed film director Howard Hughes (1905 – 1976) decided to tint a few sequences from his film HELL’S ANGELS (1930) he purchased the company that he believed capable of filling such an order: Multicolor in Hollywood, California (as it turned out, the work was actually done by Technicolor). Hughes was such a curiosity to the press and they followed his every whim; in this article, critic Donald Beaton refers to Hughes as a pioneer and salutes him for experimenting with color.

Charlie Chaplin W.W. II Radio Address
(Rob Wagner’s Script Magazine, 1942)

Within the toasty-warm confines of the attached PDF lie the text of a speech that Chaplin delivered over the war-torn airwaves in 1942. Wishing only to encourage the citizenry of London and Washington, D.C. to be of stout heart in their battle against the Fascist powers, Chaplin’s address was titled, Give Us More Bombs Over Berlin.

The Star of THE OUTLAW
(Pic Magazine, 1941)

Here is well illustrated article (16 images) from the set of THE OUTLAW (1941) that celebrates the arrival of the young, curvaceous Jane Russell (1921 – 2011).

Is Hollywood Red?
(Photoplay Magazine, 1947)

Despite the catchy title, Novelist James M. Cain, did not even attempt to answer the question as to how lousy Hollywood was with dirty Reds, however he did spell out that there were enough of them in the industry to bring production to a halt, if they ever cared to do so. Cain’s article encourages both the executive class and the pinko-wordsmiths to walk the middle path and keep the cameras rolling.

Click here to read a review of James M. Cain’s novel, The Butterfly.