Hollywood History – Page 8 – Old Magazine Articles

The Audience Laughed at the First Talkies
(Film Spectator, 1930)

Upon viewing one of the earliest sound movies this film reviewer did not find it odd in the least as to why the audiences laughed uproariously while listening to perfectly ordinary dialog during the viewing of one of Hollywood’s newest offering War Nurse (directed by Edgar Selwyn):

It was not so much [that they chortled] at these isolated bits of dialogue that the audience laughed, as it was a resort to laughter caused by the absurdity ceaseless chatter that prevails throughout the entire production.

From Amazon: Shattered Silents: How the Talkies Came to Stay

Shirley Temple Sheds a Baby Tooth!
(Stage Magazine, 1935)

Child movie star Shirley Temple (1928 – 2014) was by no means at her box-office peak when this article was penned (her most popular period would span the years 1936 through 1938), but the institution that she had become by 1935 had already built many second homes and an assorted number of mansions for more than a few well-placed studio executives and mogul types. When the news hit the palmy, sun-soaked boulevards of Hollywood that she had lost her first baby tooth, there was panic!

That the end now shows unmistakable signs of beginning. That first baby tooth fell to the studio floor with a crash heard ’round the world….Yet, even as as the nabobs of Fox stood about applauding and cooing, the cold hand of fear must have gripped their kindly hearts.

Click here to read a 1939 profile of Shirley Temple.

How the Academy Award Got Nicknamed ‘Oscar’
(Stage Magazine, 1938)

If you’ve been wondering how the Academy Awards came to be known more popularly as Oscar and you think that the answer simply has to be bathed in an endless amount of Hollywood Glamour, involving a boat-load beautifully tailored, charming and overly talented matinee idols, you’d better hit the ‘ol back browser button now.

Realistic Training for ALL QUIET ON THE WESTERN FRONT
(Photoplay Magazine, 1931)

Prior to reading this PHOTOPLAY article we were convinced that Oliver Stone’s Vietnam war film, PLATOON (1986) was the first production of it’s kind to actually take the effort to school all cast and extras as to the horrors of war; however it seems that this unique distinction goes to All Quiet on the Western Front.

In this interview the seven leading cast members discuss how the making of that movie disturbed each of them in profound ways:

We went into that picture a group of average wise-cracking fellows. We didn’t come out that way…

A small notice has been added that announced that the movie had been banned in Austria.

A 1929 review of the book can be read here

Realistic Training for ALL QUIET ON THE WESTERN FRONT
(Photoplay Magazine, 1931)

In this interview the seven leading cast members discuss how the making of that movie disturbed each of them in profound ways:

We went into that picture a group of average wise-cracking fellows. We didn’t come out that way…

A small notice has been added that announced that the movie had been banned in Austria.

A 1929 review of the book can be read here

A Salute to D.W. Griffith
(Rob Wagner’s Script Magazine, 1945)

To mark the 67th birthday of the silent film director D.W. Griffith, the editors of a once illustrious Hollywood literary magazine pasted his famous profile on their magazine cover and devoted four columns to his achievements.

Martha Vickers
(Pic Magazine, 1945)

Perhaps one of the first magazine articles about the beautiful actress Martha Vickers (1925 – 1971) who is best remembered by fans for her performance as the fabulously slutty Carmen Sternwood in the 1946 film The Big Sleep.

This article tells the tale of her early days in 1940s Los Angeles and her work as a photographer’s model, which turned more than a few of the crowned heads of Hollywood.

Martha Vickers
(Pic Magazine, 1945)

This article tells the tale of her early days in 1940s Los Angeles and her work as a photographer’s model, which turned more than a few of the crowned heads of Hollywood.

Thoughts on the American Films of 1941
(Direction Magazine, 1941)

Here is a film review from DIRECTION MAGAZINE that discussed many of the forthcoming movies of 1941 and how they so rarely depict American culture in an accurate light:

In bringing back the usual revelations from a trip through the Middle West, I want to repeat the oft-declared amazement that American films… reflect the barest minimum of the American scene in these United States. The rare attempts of the Grapes of Wrath and Primrose Path to seek and show new dramatic settings, are the exceptions that prove the rule of formula.
Many of the American films of 1941 are listed herein and the article can be printed.

Charlie Chaplin and His Imposters
(Motion Picture Magazine, 1916)

With the popularity of Charlie Chaplin (1889 – 1977) came a large number of artificial, bootlegged Charlie Chaplin movies and a host of fraudulent ‘Charlies’. All the fake Chaplins were clad the same and all answered to the same name yet all had different biographies and were not terribly funny in the slightest degree. Chaplin No. 1 did not care for this one bit and did not hold back while talking to this correspondent from Motion Picture Magazine.

‘Hollywood Hangout”
(The American Magazine, 1942)

Schwab’s Pharmacy was like many other well-heeled American pharmacies of the Forties – it filled prescriptions, sold cigars, served three squares a day at their counter and cracked-wise with the clientele. What made it different was that many of the customers were among the most glam movie stars of the time. Located on Sunset Boulevard, west of Hollywood, in an area known as Sherman:

It’s the one place in Hollywood where screen biggies like Robert Taylor, Gene Tierney and Marlene Dietrich drop in and out all day and make themselves at home.

Rita Hayworth
(Rob Wagner’s Script, 1946, American Magazine, 1942)

A 1946 article from Script, a semi-chic Beverly Hills magazine (it went belly-up in 1949), explaining just how it came to pass that a sweet, little Brooklyn girl named Margarita Carmen Cansino became Rita Hayworth (1918 – 1987):

Then came reincarnation. Rita discarded her Spanish name, gave away her dancing costumes, did something to her hairline, stuck a y into her mother’s family name (Joseph Haworth, same family, toured with Edwin Booth) and so on to the big time and ‘Cover Girl’ and ‘Tonight and Every Night’.

So the girl with a Spanish father and an Anglo-Saxon mother becomes the typical American girl to thousands of American soldiers abroad, and that, too, is as it should be.

Click here to read articles about Marilyn Monroe.

Marilyn Monroe Sings
(Collier’s Magazine, 1954)

To Marilyn Monroe, currently the nation’s favorite daydream, a trophy won is only a prelude to shinier trophies to come. She learned to act and she learned to dance. Now she is learning to sing…’The Monroe’ has taken up vocalizing in a big way, and critics are saying her voice is as arresting as her personality.

Director Alfred Hitchcock
(Film Daily, 1939)

Now at work on his first American motion picture [since arriving in Hollywood], the glossily rotund Hitchcock, whose gelatinous appearance and jocose manner belie his sinister intent, and who brightly eyes all comers with a sort of controlled effervescence, happily declares that his first Hollywood opus will surpass anything he has yet done to keep an audience poised on the edges of its chairs.

Click here to read about Marilyn Monroe and watch a terrific documentary about her life.

Another Review

A thumbnail review of It’s a Wonderful Life written in the form of a favorable plot synopsis. Oddly, the film

Dinner with Douglas Fairbanks and Mary Pickford
(Literary Digest, 1922)

This article is a simply wonderful read for many reasons and the chief among them is that the journalist hated Los Angeles. The New York writer Karl K. Kitchen was dispatched to Beverly Hills to interview the recently divorced Douglas Fairbanks and Mary Pickford and he seemed to have had a nice enough time with the estranged couple, so much so that the Hollywood Royals invited him to dine at their house. The whole article is written in a very chatty way and there is one small, but distinct, slanderous aside referring to Jewish power in the nascent film industry.

My Brother Groucho
(Coronet Magazine, 1951)

In this six page essay Harpo Marx tells the tale of Groucho (1890 – 1977) as only an older brother could see it. From the Marx family’s earliest days in the slums of New York and Groucho’s first entertainment job (he was 13), Harpo (1888 – 1964) briefly recounts his brother’s wins and losses leading up to the team’s first popular show on Broadway (I’ll Say She Is, 1923) and the man’s travails on his T.V. game show, You Bet Your Life.

Groucho’s infatuation with the language has been the backbone of his entire life and has, undoubtedly, played the largest single part in shaping him into one of the greatest wits of our time. Groucho doesn’t regard words the way the rest of us do. He looks at a word in the usual fashion. Then he looks at it upside down, backwards, from the middle out to the ends, and from the ends back to the middle…Groucho doesn’t look for double meanings. He looks for quadruple meanings. And usually finds them.

Click here to read about the manner in which the Marx Brothers would test their jokes.

Talking Pictures Fail to Impress
(Film Spectator, 1929)

There can be no doubt that at some point between the appearance of this brief notice and the release of Gone with the Wind, culture critic Gilbert Seldes (1893 – 1970) was won-over to the side that believed sound-movies were the way to go- but in 1929, he wasn’t buy’n it.