Hollywood History

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.

The Blowtorch Blonde
(Coronet Magazine, 1952)

Here is an article about the legendary Marilyn Monroe (né Norma Jeane Mortenson: 1926 – 1962), her painful beginnings, the cheesecake pictures, the bit-parts and her enormous popularity as a star are all woven into a narrative that never lets the reader forget that her unique type of appeal was something entirely new.

Jean Harlow, Star
(Photoplay Magazine, 1931)

When this interview appeared on the newsstands, Jean Harlow (1911 – 1937) had fifteen credits under her belt (most of them short films) and only six years left until she would assume room temperature as a result of kidney failure. Written by the PHOTOPLAY reporter Leonard Hall (who would like us to believe that he was a Hollywood studio psychiatrist), this is a light and breezy two page interview conducted at the New Yorker Hotel at a time when that establishment appealed to Hollywood Royalty.


Click here to read articles about Marilyn Monroe.

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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.

Bad-Boy Errol Flynn
(Sir! Magazine, 1954)

There is no doubt that the Hollywood matinee idol Errol Flynn (1909 – 1959) was the Charlie Sheen of his day, and thanks to the unrelenting press control that the Hollywood studios exercised over the fan magazines of that day, we probably only know about a quarter of his assorted debaucheries. He was a masher and a lush, and the one law suit that the studio executives couldn’t kill was

the great case against him for statutory rape which, had it stuck, would have given him jail for fifty years. For weeks in 1942 it replaced the war news in the headlines.


In 1938, Flynn wrote an article in which he weakly defended the unique moral codes of Hollywood actors; you can read it here.

Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

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Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

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Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

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Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

Gahndi and American Movies
(Photoplay Magazine, 1937)

Roving Photoplay correspondent Cornelius Vanderbilt, Jr. traveled far afield to Yerovila Jail in Poona in order to ask the incarcerated Mahatma Gandhi (1869 – 1948) a question of an entirely trivial nature:


What is your favorite American movie?

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The Making of SNOW WHITE and the SEVEN DWARFS
(Photoplay Magazine, 1938)

The attached article is essentially a behind the scenes look at the making of Walt Disney’s 1938 triumph Snow White and the Seven Dwarfs:


• He employed 569 people who worked all day and frequently all night to finish it.


•The film took three and half years to make and cost $1,500,000.00.


•He concocted 1500 different paints to give it unmatched color.


•He spent $70,000.00 developing a brand new camera to give it depth.


•He threw away four times the drawings he made and the film he shot.


•He made over 2,000,000 separate drawings…


Although Disney’s wife, Lilian, was said to have remarked, No one’s ever gonna pay a dime to see a dwarf picture, the movie generated more box office receipts than any other film in 1938.

The Making of SNOW WHITE and the SEVEN DWARFS
(Photoplay Magazine, 1938)

The attached article is essentially a behind the scenes look at the making of Walt Disney’s 1938 triumph Snow White and the Seven Dwarfs:


• He employed 569 people who worked all day and frequently all night to finish it.


•The film took three and half years to make and cost $1,500,000.00.


•He concocted 1500 different paints to give it unmatched color.


•He spent $70,000.00 developing a brand new camera to give it depth.


•He threw away four times the drawings he made and the film he shot.


•He made over 2,000,000 separate drawings…


Although Disney’s wife, Lilian, was said to have remarked, No one’s ever gonna pay a dime to see a dwarf picture, the movie generated more box office receipts than any other film in 1938.

D.W. Griffith: His Minor Masterworks
(Rob Wagner’s Script, 1946)

In 1946 the Museum of Modern Art Film Department decided to exhibit only the most famous films of D.W. Griffith for the retrospective that was being launched to celebrate the famed director. This enormous omission inspired film critic Herb Sterne (1906 – 1995) to think again about the large body of work that the director created and, putting pen to paper, he wrote:

Because of the museum’s lack of judgment, the Griffith collection it has chosen to circulate is woefully incomplete, thereby giving contemporary students of the motion picture a distorted and erroneous impression of the scope of the man’s achievements.


To read a 1924 article regarding Hollywood film executive Irving Thalberg, click here.

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