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Jean Harlow Filmography
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For the 2007 video Breaking the Silence: Exposing the Covenant, Jean Harlow stars as Mrs. Kennedy.
In 2004, Jean Harlow stars as Daisy Stevens, aka Mildred Beaumont in the Democratic National Convention.
Jean Harlow is cast in the role of Lola Burns in the 2006 video Closed Set: Titan Stage One.
In 1957, Jean Harlow's character is Dolly 'China Doll' Portland in the release of Bhabhi.
For the 2006 tv series The CMT Music Awards 2006, Jean Harlow's character is (uncredited).
She plays Kitty Packard in the 1967 show Bari luys.
For the 2000 movie Buenos Aires plateada, Jean Harlow plays Swanky blonde.
For the 1953 movie Barney's Hungry Cousin, Jean Harlow plays the part of Edith 'Eadie' Chapman.
Jean Harlow's character is Goldie in the 1984 movie Cummin' Alive.
In 2001, she plays the part of Ruby Adams in the show Christmas at the Vatican.
For the 2003 Blow Me Sandwich 2, Herself.
For the 2002 release of Cold Sweat, Jean Harlow plays the part of Gladys Benton.
For the 1928 feature Bluzhdayushchie zvyozdy, Woman in cab.
In 2009, Jean Harlow's character is Herself in the movie The Caliph's House.
For the 1922 show Bubbles, she is cast in the role of Crystal Wetherby.
Jean Harlow's character is Anne Schuyler in the 1989 show Afgrund af frihed, En.
In 1941, Jean Harlow plays the part of Gwen Allen in the show Charley's Aunt.
Jean Harlow plays the part of Mona Leslie in the 1988 movie Auf der Suche nach der verlorenen Zeit. Andrej Tarkowskijs Exil und Tod.
In 1999, Jean Harlow is cast in the role of Vantine 'Miss Van'/'Lily' Jefferson in the Diva X Brittany.
She takes the role of Lillian 'Lil'/'Red' Andrews Legendre in the 2004 show Coronation Street: The Barlow Family Album.
Jean Harlow stars as Hattie Tuttle in the 1935 show Ball im Savoy.
Jean Harlow plays Carol Clayton in the 1913 movie Baron Bink's Bride.
Jean Harlow plays Hazel in the 1958 tv series Akvarel.
For the 1944 feature Bhagya Laxmi, she plays Anne Courtland.
Jean Harlow plays Suzanne 'Suzy' Trent in the 2005 video Cream Filled Ass Pies.
Jean Harlow plays Herself in the 1956 feature The Bottom of the Bottle.
In 1945, she plays the part of Cassie Barnes in the feature Chand Chakori.
For the 1918 show Bachelor's Children, A, she plays Helen 'Whitey' Wilson.
Drew Barrymore & Jessica Lange Grow 'Grey Gardens' in NYC
Drew Barrymore, Jessica Lange and Jeanne Tripplehorn premiered their new HBO film 'Grey Gardens' to a cosmopolitan crowd in Manhattan Tuesday night -- and ET was there!
In an Alberta Ferretti ensemble "inspired by Jean Harlow and Clara Bow and Caro
on 2009-04-15 04:48:15Harlow Is So Cute! Nicole and Joel Seem To Think So Too
We all let out a collective "awwwww" when we first saw the Nicole and Harlow People cover and now we have a look at the full inside spread. I don't want to jump the gun, but seriously, she's gotta be one of the cutest little munchkins ever and Nicole and
on 2008-02-28 20:49:27H'WOOD SCANDAL!
WRITER David Stenn was working on a book about the mys terious death of screen icon Jean Harlow when he stumbled across another juicy Hollywood scandal that erupted that first week of June 1937. The papers were full of stories about Patricia...
on 2007-10-16 02:26:57-
http://www.imdb.com/news/wenn/2005-08-16/#2
Stefani Shoots Down 'Factory Girl' Reports
Gwen Stefani has rubbished reports she's set to join Sienna Miller in the
upcoming movie Factory Girl. It was reported last week that the "Rich Girl"
singer, who portrayed Jean Harlow in The Aviator, had signed on to join Jude
Law's fiancee in the film. It was said Stefani would play Richie Berlin, the
roommate of Andy Warhol's muse Edie Sedgwick played by Miller. But the
blonde beauty insists, "That's a big rumor. I'm not doing it." Stefani's
husband Gavin Rossdale is reportedly set to star in the movie, however.
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LATEST: GWEN STEFANI has rubbished reports she's set to join SIENNA
MILLER in the upcoming movie FACTORY GIRL.
It was reported last week (ends12AUG05) that the RICH GIRL singer,
who portrayed JEAN HARLOW in THE AVIATOR, had signed on to join JUDE
LAW's fiancee in the film.
It was said Stefani would play RICHIE BERLIN, the roommate of ANDY
WARHOL's muse EDIE SEDGWICK played by Miller.
But the blonde beauty insists, "That's a big rumour. I'm not doing
it."
Stefani's husband GAVIN ROSSDALE is reportedly set to star in the
movie, however. (RGS/WNVEX/SC)
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"Thanatos" wrote in message
news:atropos-5602CE.21455318032008@news.giganews.com...
> In article
> ,
> TranslucentAmoebae wrote:
possession"http://www.tmz.com/2008/03/11/mary-ann-busted-with-mary-jane/
responsibility"http://www.tmz.com/2008/03/12/it-wasnt-mary-anns-mary-jane/
> difference?
He can't tell you...too drunk.
-
Trianna wrote:
> Wee Bit Strange wrote:
for
Helen
her
> celebrity boyfriend was the quite heterosexual William Powell.
Ahh you obviously are not up on your historical Hollywood gossip.
Before taking up with William Powell, Ms. Harlow was married briefly to
the unfortunate Paul Bern, a studio exec who was rumored to be
homosexual at a time when it was not cool to flaunt it let alone talk
about it (the mid to late 30's).
You can read all about his eventual fate here:
http://www.eonline.com/Sponsored/MaidInManhattan/Symbols/index2.html
-
Trianna wrote:
> Wee Bit Strange wrote:
> her celebrity boyfriend was the quite heterosexual William Powell.
There's a wing-nut occasional poster in the groups to which this is
cross-posted who will not be at all happy to read this.
-
SyVyN11 wrote:
> "Wee Bit Strange" wrote in message
> news:1116352687.365999.316680@z14g2000cwz.googlegroups.com...
for
Helen
> Call it what it is. Eva is a BEARD!
In between her full-on hetero whoring for attention gigs? Under other
circumstances, she might be found trolling under the jetties of Cannes
on any given night along with the other ladies of questionable repute
and easy terms. (although, that might could be said of lots of the
well-dressed Cannes Festival hangers-on and arm candy.)
-
Wee Bit Strange wrote:
> Hmmm... dating Hayden Christensen. Is there anything she won't do for
> some publicity?
> Hunt, a Sarah-Jessica or a Jean Harlow?
You forgot Katie. And who was Jean Harlow bearding for? I thought her
celebrity boyfriend was the quite heterosexual William Powell.
T.
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"Wee Bit Strange" wrote in message
news:1116352687.365999.316680@z14g2000cwz.googlegroups.com...
> Hmmm... dating Hayden Christensen. Is there anything she won't do for
> some publicity?
> Hunt, a Sarah-Jessica or a Jean Harlow?
Call it what it is. Eva is a BEARD!
>
-
Hmmm... dating Hayden Christensen. Is there anything she won't do for
some publicity?
Also: Is this called "doing a Renee", a Liza, a Judy, a Star, a Helen
Hunt, a Sarah-Jessica or a Jean Harlow?
--Amy
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http://www.heraldsun.news.com.au/common/story_page/0,5478,12555797%255E2902,
00.html
Andy Warhol's stash of old pleasure
Felicity Allen
16mar05
THE very quirky life of one of the best known faces of the 20th century is
on display today at the National Gallery of Victoria International.
Andy Warhol's Time Capsules exhibition taps into the bower bird in all of
us.
It explores 3000 objects - the contents of 15 cardboard boxes which Warhol
lovingly described as time-capsules.
Warhol (1928-1987) loved nothing better than to stash away items such as
Clark Gable's shoes, Jean Harlow's silk velvet panne gown, countless letters
and memorabilia including a letter from leading American playwright Arthur
Miller.
"This exhibition is evidence of the detail of Andy Warhol's life. He loved
to document everything. It shows us his day-to-day existence in its
entirety," said Amy Barclay, co-ordinating curator for the exhibition.
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
WEN STEFANI is upset with the make-up team behind her movie debut in THE
AVIATOR - because she doesn't think they did a very good job in turning her
into movie icon JEAN HARLOW.
The NO DOUBT singer was far from impressed with her look in the LEONARDO
DiCAPRIO-starring film, and insists she looks nothing like the Hollywood
legend.
She says, "I would have done it a little differently. I'm always in control
of my hair and make-up.
"I was like, 'Are you sure you want the lips to be that thin? Jean Harlow's
were bigger than that. It's not like I didn't read two biographies and watch 18
of her movies before I got here.'"
(KL/VOG/KTW)
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http://tnr.com/doc.mhtml?i=20050117&s=kauffmann011705
STANLEY KAUFFMANN ON FILMS
Flying and Fighting
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Post date 01.08.05 | Issue date 01.17.05 E-mail this article
Clint Eastwood has apparently reached a point in his career where he
can do no wrong. He directed Mystic River, a creaky and pretentious
murder story, and Dostoevsky was asked to move over and make room for
it. Now Eastwood produces, directs, and stars in Million Dollar Baby, a
boxing film that is wildly hailed though it fairly fills the theater
with the odor of the mothballs in which the has been stored. A
hopeful young fighter approaches a grizzled trainer; the trainer
declines to take on the newcomer; but eventually he does, and
eventually success arrives. The film even has the old black sidekick
for the trainer, a man who knows a lot about the sport and serves as
the trainer's conscience. The only differences between this new film
and its many forebears are that the young hopeful is a woman and the
finish is unforeseen.
The casting matter here is just the reverse of The Aviator. DiCaprio
maims his film; but Eastwood saves his--for many, anyway. Whatever his
talents may be, he has through the years added a person to the screen
world; sage, slim, laconic, reliable. If we can watch this picture at
all, it is because this universally admired person is in it. Hilary
Swank, who seems to me to have too many teeth for a boxer, tries hard
and sincerely. Morgan Freeman humbles himself to play the knowledgeable
old sidekick.
I almost forgot one other point that distinguishes this film from past
fight pictures. This trainer reads Yeats.
Martin Scorsese is unique in American film, and not just because of his
talent. Though he is only in his early sixties, he has made to date
some forty films, but that hasn't been enough for him. He has become a
figure in film, a mover and shaker. He works in film-preservation
groups, he edits a series of film books, he aids festivals. To put it
bluntly and melodramatically, which is an apt Scorsese union, he wants
to give his life to films. When I watch him in television interviews,
of which there is no shortage, his machine-gun speech usually makes me
a bit nervous: he always seems to be straining to keep up with his
enthusiasms.
The center of his film life is of course his directing, and the
persistent subtext in his career has been the quest for a masterwork.
Not every director, not even every good one, seems so obsessed and
driven to achieve a landmark work as Scorsese is, works such as Coppola
(to name an Italian-American contemporary) created in The Godfather and
Apocalypse Now. Scorsese has made his share of consciously lesser
works, but over and over he has reached for a masterpiece. Not yet,
however. Taxi Driver, Raging Bull, The Last Temptation of Christ, The
Age of Innocence, Gangs of New York: all were obviously made by a
dynamic talent, yet they don't quite lodge at the top.
Now Scorsese has made another bid for Parnassus, but once again he
rises only to somewhere on the slope. The Aviator deals with (part of)
the life of Howard Hughes, and it is patent that Scorsese thought that,
at least as far as he goes with the life, it has the lineaments of
Charles Foster Kane: tremendous drive, giant abilities, luscious
wielding of power, tugs of ego--a marriage of magnitude and hubris,
exemplary of our time.
Scorsese virtually signals his model with the opening shot, a reminder
of an early sequence in Citizen Kane. Hughes, a boy of ten or so, is
bathed by his mother, who, while she washes him, is also trying to
shape his mind. Then Scorsese plunges ahead with a battery of devices
and techniques that he long ago inherited from Welles and uses here
with confidence and verve--sudden cuts, camera sweeps into a scene,
camera sweeps back out of it, camera angles that keep us alert: a
cinematic effusion that weaves a texture out of time and money and
hustle.
The story leaps to 1927, when Hughes (his early oil days skipped) is
already in Hollywood, already the owner of a studio, and immersed in
the making of Hell's Angels, a project that merges his imagination and
profligacy and passion for aviation. He also has an unflagging passion
for women, of whom we see a few who were film stars: Jean Harlow,
Katharine Hepburn, Faith Domergue, and Jane Russell among them.
(Russell starred in a Hughes Western called The Outlaw that was set in
the Grand Tetons, not Wyoming's but hers. A story at the time was that,
with his engineering skill, Hughes had designed a bra for her so
effective that the censors wouldn't let it be used.)
The screenplay, by John Logan, includes much that is interesting about
Hughes's airplane designs and aviation achievements. He set records for
transcontinental and around-the-world flights, and he also juggled
corporate maneuvers with the founding of TWA and its rivalry with Pan
Am. Not all his ventures were successes, but he was so daring and
visionary--all the while he was carrying on at least one caloric love
affair--that he became an incarnation of the American boy's fantasies.
What more could be dreamed of in kids' bedrooms across the land?
But that incarnation shriveled. In some way, not psychologically
developed here, Mother Hughes's early warnings about cleanliness became
a neurosis in Hughes--e.g., his refusal to touch doorknobs in men's
rooms--and this oddity soon waxed into an eremitical mania that
safeguarded him from pollution. He kept relatively sane long enough to
recognize that the arrival of the jet engine was (the film's last line)
"the way of the future." The rest of his life, more clinical than
dramatic, is omitted.
Some comments on this film have complained of a central hollowness. I
agree but locate it differently. This same film, shot for shot, line
for line, could have been much more solid and engrossing, much farther
up the Parnassian slope, with a better actor as Hughes. Leonardo
DiCaprio, who worked very few miracles for Scorsese in Gangs of New
York, was nonetheless cast as Hughes. The reason, his box-office clout,
is almost embarrassingly obvious through the first half of the picture,
because DiCaprio's lack of talent is glaring. It is as if he were
playing Hughes in a school play. Hughes's eventual madness is a gift to
DiCaprio: it helps him to deepen his portrayal. Still, The Aviator
suffers from its leading actor almost as much as Alexander does.
Cate Blanchett--attractive woman, capable actress--plays Katharine
Hepburn, which is less a role than a straitjacket. All Blanchett can do
is imitate, something that is more the work of a night-club comic than
an actress. Alec Baldwin is meaty as Juan Trippe, the head of Pan Am,
and Alan Alda provides subtlety and wile as Trippe's stooge, Senator
Ralph Owen Brewster. The cinematographer is Robert Richardson, usually
more subtle than he is here: he uses a lot of picture-postcard colors,
possibly because Scorsese wanted to fix the film visually in the past.
-
Sad little attempt to upstage. This stupid little sow doesn't have an ounce
of creativity. Accidentally fell in the pool, huh? Yeah sure you did. What
do you think Paris, that none of us were born before 1980. We've all seen
the I love Lucy episode with Hedda Hopper, a thousand damn times, where Lucy
jumps in the pool so Rickey can save her in front of the press camera's.
Where do you think 1950's publicity queen, Jayne Mansfield got her idea for
the stunt. It's a flash publicity grab stunt going back to Jean Harlow's
day and before. Fall in the pool and get every Jimmy Olsen--WeeGee Speed
Graflex publicity camera's points in you're direction. What's next Paris,
riding on and elephant and splitting your skin tight pink satin Capri pants
and then squealing, "Oh my goodness and I never wear panties!" Don't bother
Paris, we've all seen your worn out coochie and anyway, it wasn't that hot
to begin with. Paris, think acting classes, and here's a name to remember,
Dina Merrill, the daughter--or was it granddaughter--of Marjorie
Merryweather Post. The Post's had more money than all the Hiltons combined
and they had something else, something you'll never have, Paris. They had
real class.
Ambrose
"Lili2" wrote in message
news:20040301202058.02968.00000661@mb-m15.aol.com...
> (28FEB04) when she gatecrashed a pre-OSCAR bash and fell into a pool.
> The reality TV star waltzed into the LORD OF THE RINGS pre-ACADEMY
AWARDS
> dinner at NEW LINE CINEMA boss BOB SHAYE's hilltop estate in Beverly
Hills,
> California.
> Hilton screamed, "Oh my God," as she splashed into a Japanese pool
carpeted
> in rose blossoms.
> After climbing out of the pond, Hilton lamented, "God, I didn't see the
pool.
> Why does he have a pool there? At least I didn't go in the big pool."
> The sexy socialite - who hit the headlines last year (03) when a video
tape
> of her having sex with former beau RICK SOLOMON surfaced on the internet -
> managed to avoid damaging her glitzy outfit, although she did get her
LOUIS
> VUITTON shoes wet.
> She was then overheard telling her sister NICKY on the phone, "Guess
what? I
> just fell into a little pond! It's soooo embarrassing."
> A bemused Shaye was more baffled by Hilton's attendance, saying, "She
wasn't
> even invited." (WVD/WNWCDN/ES)
-
http://www.usatoday.com/life/people/2004-12-09-dicaprio-cover_x.htm?POE=LIFI
SVA
Leo DiCaprio: Epic actor
By Scott Bowles, USA TODAY
BEVERLY HILLS - Leonardo DiCaprio looks older than you'd think.
Big shoes to fill: Leonardo DiCaprio, now 30, brings the legendary airman
and playboy Howard Hughes to life in The Aviator.
By Robert Hanashiro, USA TODAY
Standing 6-foot-1 and sporting a goatee and slicked-back hair, DiCaprio
carries himself deliberately. He doesn't walk; he saunters. He speaks
intensely, mulling his words while locking his eyes on you. He looks all of
his 30 years, if not more. There's only a trace of the boy who starred seven
years ago in the biggest box office hit of all time.
DiCaprio concedes that he still gets the "aren't you that kid from Titanic?"
comment on the streets. But make no mistake: He is a boy no more.
"Yes, I can play younger than my age," he says with a grin over
chocolate-dipped strawberries and biscotti at the Regent Beverly Wilshire
Hotel. "But I can play characters older than I am, too. I'm not an actor who
can just play the kid."
DiCaprio gets his chance to prove that on Dec. 17 when The Aviator arrives
in New York, Los Angeles and San Francisco. It goes nationwide on Christmas
Day. Martin Scorsese's sprawling epic about legendary airman and playboy
Howard Hughes puts DiCaprio in foreign territory: playing a character who is
older, richer and more famous than himself.
Few movies enter the fall with heavier expectations. Miramax Films is
banking on the $100 million movie to put the studio back into the Oscar hunt
after being shut out last year.
And after the collapse of Alexander, the critically panned, commercially
disastrous Oliver Stone opus, The Aviator is the last epic standing this
awards season. Part biopic, part homage to Hollywood's heyday of the 1920s
and '30s, The Aviator's classic elements have helped make it the early
front-runner among big-studio entries.
For Scorsese and Di-Caprio, the movie marks something more personal: a shot
at a first Oscar for both men.
Despite earning $20-million-a-movie paychecks and global stardom since
1997's Titanic, DiCaprio hasn't been nominated for an Academy Award since
1994's What's Eating Gilbert Grape. Scorsese is Oscar's latest bridesmaid,
having been nominated for best director four times but never taking home the
prize.
Both may find redemption this year. Industry analysts are calling the film
Scorsese's best work since 1990's Goodfellas, thanks in part to the director
and actor having an unusual aging effect on each other.
"Marty has helped bring out the man in Leo," says film critic Emanuel Levy,
author of All About Oscar. "No one believed Leo could play Howard Hughes,
who has always been seen as a man's man. But that's changed now. Leo is a
lock for a best-actor nomination."
DiCaprio, in turn, "seems to have brought out the kid in Scorsese," Levy
says. The Aviator is "more reminiscent of his brilliant early work like Taxi
Driver and Raging Bull, just more commercial and enjoyable."
Scorsese, 62, acknowledges that the young actor - who starred in his Gangs
of New York in 2002 - has given him new energy.
"Directing is a real headache. But working with Leo, who forces you to talk
and talk and talk about your movies, gets you excited about what you do."
A life 'too big for one movie'
There has been talk about making a film biography of the legendary airman
and filmmaker for decades.
But where to start - or stop - such a film? Hughes was as much a force in
Hollywood as he was in aviation. He broke speed records while financing some
of the industry's most expensive films, including the $4 million Hell's
Angels in 1930. He was commandeering TWA while courting the film industry's
biggest stars, including Ava Gardner, Jean Harlow and Katharine Hepburn.
"And that was before he succumbed to his illness," DiCaprio says of the
obsessive-compulsive disorder that left the germ-phobic millionaire the
poster child for seclusion and paranoia. "His life was just too big for one
movie."
Then it hit DiCaprio: Just take a portion of Hughes' life, the less-examined
slice before the final phase of dementia, of uncut fingernails and tissue
boxes turned into shoes.
When he was 22, the actor had stumbled across a book, Howard Hughes: The
Untold Story by Peter H. Brown, and had been trying for years to coax
directors to tackle the story.
After several fits and starts, he landed director Michael Mann and
screenwriter John Logan, who wrote Gladiator and The Last Samurai.
Mann, citing biopic burnout from Ali, later decided to produce the film and
not direct it. But Scorsese didn't hesitate at the chance to tackle the
project.
"When I saw the title, I thought it was about flying," he says with a laugh.
"And I hate flying. But the more something scares me, the more I want to
explore it."
And DiCaprio sealed the deal, Scorsese says. "He doesn't so much play the
roles as he becomes consumed by them. It's fascinating to watch."
Indeed, DiCaprio became obsessed with the part in a manner that might have
made Hughes proud. He spent days with a man who had obsessive-compulsive
disorder so he could observe the facial tics and mannerisms. He read a
half-dozen biographies and watched hours of archival footage of the brash
Hughes. He even insisted that Scorsese include a song by Django Reinhardt, a
jazz guitarist from the 1930s, in the movie.
He wasn't the only one immersed in research. Cate Blanchett tackles the
challenging role of the legendary Hepburn.
"It was great fun trawling through her films," Blanchett says. "It's one
thing to play on screen someone who people have an image of and regard as an
icon. But it's another thing to play her in the very medium in which she has
become so revered. The truth is that I don't think I would have attempted it
for anyone other than Martin Scorsese."
DiCaprio echoes his co-star. "Marty's got such an encyclopedic knowledge of
film, especially old movies. You have to know your character inside out, or
he'll let you have it."
That included Hughes' mental breakdown. DiCaprio rehearsed scenes for weeks
that called for him to repeat a single line, over and over.
"Howard would get a line in his head and couldn't stop saying it," DiCaprio
says. "One half of your brain is stuck in the record groove, while the other
knows you sound like a fool. I was trying to figure out how you do that, how
to say the same line again and again but express everything else that's
going on inside your head."
DiCaprio's head, the actor insists, is far less cluttered than his
character's, though he concedes that, like Hughes, he is partial to old
films and the occasional obsession, particularly vintage movie posters. Over
the years he has collected a French Buster Keaton poster, a German
Apocalypse Now, a Polish Midnight Cowboy and an authentic King Kong "that
cost me a bundle."
And like Hughes, DiCaprio has dated his share of famous women, having been
stalked by paparazzi snapping him with Kate Moss, Demi Moore and, most
recently, model Gisele Bündchen.
But that's where the similarity ends, he insists. He demurs from talking
about his love life but says there is an emotional bond behind every
relationship that Hughes' liaisons lacked.
"I think Howard thought of women the same way he thought of planes,"
DiCaprio says. "He wanted the fastest thing, the newest model. That is not
how I approach dating."
He also is careful to approach fame differently from how Hughes did.
He doesn't hide buck-naked in hotel rooms as Hughes did in his withering
years. But DiCaprio is selective about his films and his public appearances.
He has starred in only five movies since Titanic, in part so that a single
film would not define him as that one did.
He has acknowledged that it was a mistake turning down Boogie Nights in
favor of the James Cameron film, which made him Hollywood's pinup boy for a
generation of teenyboppers.
But he has since come to terms with that fame and says he takes no film in
the hopes of getting an "anti-Titanic reaction."
"I think people read the tabloids because they want to see you eating a
burger, or out of your makeup or doing something stupid because they just
want to see that you're like everyone else," he says. "And that's OK. I
don't want to catch myself anymore saying that my life is hard, because the
good far outweighs the bad in my life. And it's easier to focus on those
things, on the things that are important."
Like an Oscar? DiCaprio was snubbed when Titanic managed 14 Academy Award
nominations (and 11 wins) in just about every category, including an acting
nomination for co-star Kate Winslet. But DiCaprio's name was noticeably
absent.
"Anyone who tells you that they don't want their work recognized by their
peers is lying," he says. "I'd love this film to be the one, especially for
Marty. That he didn't win an Oscar years ago is still a mystery to me.
"But he's the reason you make movies," DiCaprio says, moving to the edge of
his couch cushion as he speaks. "You learn after you've been in the business
for a while that it's not getting your face recognized that's the payoff.
It's having your film remembered."
He grins slightly at the notion of calling himself a Hollywood veteran. "And
I guess I have been in the business for a while now."
So has Scorsese. But lately, he says, he isn't feeling his years.
"After I finish a movie, I think, 'Wow, that was really hard work. What the
hell am I doing this for?' " he says. "But then you meet an actor like Leo
and start talking about movies and storytelling, and suddenly you're
interested again. Just talking now, I'm ready to go start another one."
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
http://www.sfgate.com/columnists/dailydish/
STEFANI'S ONE LINER
Gwen Stefani was taken aback when she discovered Martin Scorsese wanted her
to audition for a part in "The Aviator" -- but felt deflated when she found
out she would only have one line.
Despite being a world-famous singer with No Doubt, Stefani found herself at
the bottom of the acting pile, and had to audition along with a host of
unknowns who knew exactly who she was.
She recalls, "They sent me the and I was 15 minutes looking for the
part. I called and said, 'I don't see Jean Harlow in here.' It was on one
page.
"It was so humiliating because you get used to being a star, and there are
all these other girls at the same hotel. They are trying out for other
parts, and they all know who you are. It's really awkward."
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
http://tnr.com/doc.mhtml?i=20050117&s=kauffmann011705
STANLEY KAUFFMANN ON FILMS
Flying and Fighting
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Post date 01.08.05 | Issue date 01.17.05 E-mail this article
Clint Eastwood has apparently reached a point in his career where he
can do no wrong. He directed Mystic River, a creaky and pretentious
murder story, and Dostoevsky was asked to move over and make room for
it. Now Eastwood produces, directs, and stars in Million Dollar Baby, a
boxing film that is wildly hailed though it fairly fills the theater
with the odor of the mothballs in which the has been stored. A
hopeful young fighter approaches a grizzled trainer; the trainer
declines to take on the newcomer; but eventually he does, and
eventually success arrives. The film even has the old black sidekick
for the trainer, a man who knows a lot about the sport and serves as
the trainer's conscience. The only differences between this new film
and its many forebears are that the young hopeful is a woman and the
finish is unforeseen.
The casting matter here is just the reverse of The Aviator. DiCaprio
maims his film; but Eastwood saves his--for many, anyway. Whatever his
talents may be, he has through the years added a person to the screen
world; sage, slim, laconic, reliable. If we can watch this picture at
all, it is because this universally admired person is in it. Hilary
Swank, who seems to me to have too many teeth for a boxer, tries hard
and sincerely. Morgan Freeman humbles himself to play the knowledgeable
old sidekick.
I almost forgot one other point that distinguishes this film from past
fight pictures. This trainer reads Yeats.
Martin Scorsese is unique in American film, and not just because of his
talent. Though he is only in his early sixties, he has made to date
some forty films, but that hasn't been enough for him. He has become a
figure in film, a mover and shaker. He works in film-preservation
groups, he edits a series of film books, he aids festivals. To put it
bluntly and melodramatically, which is an apt Scorsese union, he wants
to give his life to films. When I watch him in television interviews,
of which there is no shortage, his machine-gun speech usually makes me
a bit nervous: he always seems to be straining to keep up with his
enthusiasms.
The center of his film life is of course his directing, and the
persistent subtext in his career has been the quest for a masterwork.
Not every director, not even every good one, seems so obsessed and
driven to achieve a landmark work as Scorsese is, works such as Coppola
(to name an Italian-American contemporary) created in The Godfather and
Apocalypse Now. Scorsese has made his share of consciously lesser
works, but over and over he has reached for a masterpiece. Not yet,
however. Taxi Driver, Raging Bull, The Last Temptation of Christ, The
Age of Innocence, Gangs of New York: all were obviously made by a
dynamic talent, yet they don't quite lodge at the top.
Now Scorsese has made another bid for Parnassus, but once again he
rises only to somewhere on the slope. The Aviator deals with (part of)
the life of Howard Hughes, and it is patent that Scorsese thought that,
at least as far as he goes with the life, it has the lineaments of
Charles Foster Kane: tremendous drive, giant abilities, luscious
wielding of power, tugs of ego--a marriage of magnitude and hubris,
exemplary of our time.
Scorsese virtually signals his model with the opening shot, a reminder
of an early sequence in Citizen Kane. Hughes, a boy of ten or so, is
bathed by his mother, who, while she washes him, is also trying to
shape his mind. Then Scorsese plunges ahead with a battery of devices
and techniques that he long ago inherited from Welles and uses here
with confidence and verve--sudden cuts, camera sweeps into a scene,
camera sweeps back out of it, camera angles that keep us alert: a
cinematic effusion that weaves a texture out of time and money and
hustle.
The story leaps to 1927, when Hughes (his early oil days skipped) is
already in Hollywood, already the owner of a studio, and immersed in
the making of Hell's Angels, a project that merges his imagination and
profligacy and passion for aviation. He also has an unflagging passion
for women, of whom we see a few who were film stars: Jean Harlow,
Katharine Hepburn, Faith Domergue, and Jane Russell among them.
(Russell starred in a Hughes Western called The Outlaw that was set in
the Grand Tetons, not Wyoming's but hers. A story at the time was that,
with his engineering skill, Hughes had designed a bra for her so
effective that the censors wouldn't let it be used.)
The screenplay, by John Logan, includes much that is interesting about
Hughes's airplane designs and aviation achievements. He set records for
transcontinental and around-the-world flights, and he also juggled
corporate maneuvers with the founding of TWA and its rivalry with Pan
Am. Not all his ventures were successes, but he was so daring and
visionary--all the while he was carrying on at least one caloric love
affair--that he became an incarnation of the American boy's fantasies.
What more could be dreamed of in kids' bedrooms across the land?
But that incarnation shriveled. In some way, not psychologically
developed here, Mother Hughes's early warnings about cleanliness became
a neurosis in Hughes--e.g., his refusal to touch doorknobs in men's
rooms--and this oddity soon waxed into an eremitical mania that
safeguarded him from pollution. He kept relatively sane long enough to
recognize that the arrival of the jet engine was (the film's last line)
"the way of the future." The rest of his life, more clinical than
dramatic, is omitted.
Some comments on this film have complained of a central hollowness. I
agree but locate it differently. This same film, shot for shot, line
for line, could have been much more solid and engrossing, much farther
up the Parnassian slope, with a better actor as Hughes. Leonardo
DiCaprio, who worked very few miracles for Scorsese in Gangs of New
York, was nonetheless cast as Hughes. The reason, his box-office clout,
is almost embarrassingly obvious through the first half of the picture,
because DiCaprio's lack of talent is glaring. It is as if he were
playing Hughes in a school play. Hughes's eventual madness is a gift to
DiCaprio: it helps him to deepen his portrayal. Still, The Aviator
suffers from its leading actor almost as much as Alexander does.
Cate Blanchett--attractive woman, capable actress--plays Katharine
Hepburn, which is less a role than a straitjacket. All Blanchett can do
is imitate, something that is more the work of a night-club comic than
an actress. Alec Baldwin is meaty as Juan Trippe, the head of Pan Am,
and Alan Alda provides subtlety and wile as Trippe's stooge, Senator
Ralph Owen Brewster. The cinematographer is Robert Richardson, usually
more subtle than he is here: he uses a lot of picture-postcard colors,
possibly because Scorsese wanted to fix the film visually in the past.
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http://www.zap2it.com/movies/news/story/0,1259,---24258,00.html
LOS ANGELES (Zap2it.com) - Someone has pillaged the "Tragic Kingdom."
The red dress that pop singer Gwen Stefani wore on the cover of No Doubt's
"Tragic Kingdom" album was stolen Tuesday afternoon (Jan. 11) from the history
of Orange County Rock 'n' Roll exhibit at the Fullerton Museum Center in
southern California.
"Our foremost priority in this matter is the safe return of the dress as it
means a lot to the band -- it can be returned, NO QUESTIONS ASKED," reads a
statement by Interscope Records. The stolen article is a sleeveless red vinyl
minidress that Stefani wore with matching red roller skates for 1995 album.
The record company says that the dress can be returned anonymously to the
after-hours drop boxes at the Fullerton Museum Center or Rebel Waltz, Inc. in
Laguna Beach. Any information about the whereabouts of the dress can be give to
Sergeant Jason Schoen of the Fullerton Police Department at (714) 738-5336.
The Fullerton Police Department is investigating the theft, which is believed
to have taken place between 2:30 and 3:30 p.m. on Tuesday.
Stefani, 35, attended Cal State Fullerton College while she juggled being the
lead singer to No Doubt. Her hit albums include "Rock Steady," "Return of
Saturn" and her recent solo effort "Love, Angel, Music, Baby." She currently
appears as silver screen legend Jean Harlow in the Howard Hughes biopic "The
Aviator."
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STEFANI: 'I'M NO MOVIE STAR'
NO DOUBT singer GWEN STEFANI wants it to be made clear that she isn't a movie
star following her debut in MARTIN SCORSESE's THE AVIATOR.
Stefani insists she will remain primarily a singer, although she is keen to
continue her recently launched solo career.
And she dislikes all the attention lavished on her for her role as legendary
actress JEAN HARLOW in The Aviator, because she is only onscreen for a few
minutes.
Stefani says, "I'm not a movie star. It's almost embarrassing talking about a
movie that I'm only in for a couple of minutes. It's like, don't blink or
you'll miss me.
"LEO(NARDO DiCAPRIO) and the rest are the stars and I'm just lucky enough to
have a moment in it playing Jean Harlow - a real Hollywood legend.
"I've been trying to do films for years, but it's hard to find the right
roles. I would love to get to a position where I was known for my acting as
much as my singing."
(GES/WNTMIS/ES)
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DiCaprio takes to the sky
Hughes biopic takes flight with high Oscar hopes
By BRUCE KIRKLAND -- Toronto Sun
The Aviator tells some of the truth, but not the whole truth, so help me
God, about Howard Hughes.
That was a deliberate if difficult choice made by the team of director
Martin Scorsese, screenwriter John Logan and actor Leonardo DiCaprio, who
not only plays the enigmatic playboy-aviator-filmmaker Hughes, but was the
one who put this film into motion in the first place as a vanity project.
This is, DiCaprio says in a Los Angeles interview, "the first truly
distinctive film on Howard Hughes."
There have been others, sometimes with Hughes thinly disguised, such as in
The Carpetbaggers (1964) when George Peppard played him under the fictional
name Jonas Cord.
Without lingering over biographical details but by sticking mostly to facts,
The Aviator tackles the early adult life of Hughes. After a brief childhood
vignette, the film chronicles the turmoil of the years from 1927 -- when the
orphaned, rich young Texan took his inheritance and stormed Hollywood by
shooting his aviation war spectacle Hell's Angels -- to the late 1940s,
after he had energized the airline industry through his ownership of TWA.
That was also the period when a testy Hughes fought off Congressional
hearings threatening to destroy his reputation as a test pilot and inventor
who revolutionized modern aviation. A Senate committee tried to take Hughes
to task over his failure to deliver spy planes during World War II and also
for the apparent flop of his famous Hercules flying boat, the Spruce Goose.
Hughes triumphed but first he had to be dragged out of a disturbing,
self-destructive depression by Hollywood friends before he could even show
up in public for the hearings. He suffered from a serious case of obsessive
compulsive disorder (OCD) that overtook him later in life.
Telling Hughes' youthful story allowed the filmmakers to weave a larger
dramatic story of "the state of our country" and how it grew up during that
era, DiCaprio says. And it allowed him to tackle a personal challenge, one
that could bring him another Academy Award nomination, although competition
is tough, vaunted U.S. distributor Miramax Films seems to have lost its
promotional drive and DiCaprio personally never mentions the possibility.
"As an actor," DiCaprio says, "you're constantly searching for that great
character. And, being a history buff and learning about people in our past
and the amazing things that they've done, I came across a book about Howard
Hughes."
The man, DiCaprio says, was "the most multidimensional character I could
ever come across. Often, people have tried to define him in biographies. No
one seems to be able to categorize him ... He was such an obsessed human
being. He was so obsessive with everything ... whether it be planes or women
or films he made. And that is the direct result of his OCD."
DiCaprio took the book to filmmaker Michael Mann, who served as co-producer.
Mann brought in Logan (The Last Samurai) to craft the screenplay. Scorsese
was hired to direct, with DiCaprio entrenched in the lead role.
Key cast additions included a Cate and a Kate -- Cate Blanchett plays
Hughes' lover, Katharine Hepburn, and Kate Beckinsale plays Hughes' longtime
if tempestuous friend Ava Gardner. Jude Law pops up in a delicious cameo as
barfly actor Errol Flynn. Alec Baldwin is Juan Trippe, Hughes' business
rival. Alan Alda plays sleazy Senator Ralph Owen Brewster, who chaired the
1947 committee which skewered Hughes as an alleged war profiteer (Hughes
famously called Brewster's vicious attacks "a pack of lies!").
DiCaprio says Logan deserves credit for the final structure of the film.
"(He) really came up with the concept, saying, 'You can do 10 different
movies about Howard Hughes. Let's focus on his younger years. Let's watch
his initial descent into madness but, meanwhile, have the backdrop of early
Hollywood.' "
Howard Robard Hughes Jr. was born in Houston on Christmas Eve 1905 (although
some references cite his birthplace as nearby Humble, Tex.). His father,
Howard Robard Hughes Sr., became a millionaire by designing and
manufacturing a drill bit, the Hughes Rock Eater, that is still used in the
oil business. His mother, Allene Gano Hughes, planted in the mentally
unstable Hughes a lifelong aversion to germs, unless they were his own (he
often lived in his own filth).
Before he was 20, both parents were dead. Lured briefly by schooling, more
by golfing and mostly by an uncle (actor-screenwriter Rupert Hughes) who had
made it in the movie business, Hughes went to Hollywood.
By the time he left Los Angeles to live as a madman hermit who holed up in a
room at Las Vegas' Desert Inn until his death in 1976, Hughes had become a
legend. He was both celebrated and reviled for spectacular successes (he
produced the original Scarface in 1932), for miserable failures (three
pilots died shooting the Hell's Angels aerial combat scenes and the picture
cost $4 million because he shot most of it twice), for a litany of
glamour-girls affairs (Jean Harlow, Billie Dove, Ginger Rogers, Katharine
Hepburn, Rita Hayworth, Jean Peters and many others) and for his aviation
triumphs and disasters (Hughes once crashed his prototype spy plane into
swank Beverly Hills and nearly died).
These Los Angeles years are the focus of The Aviator.
"Howard Hughes," says Scorsese, "was this visionary who was obsessed with
speed and flying like a god. (He was) as rich as one of the Greek mythical
kings ... (He was) young, energetic and filled with wonder and excitement,
not only for aviation but also for Hollywood and making big movies. Hell's
Angels was a big film." While Hughes had to pay a steep price, says
Scorsese, "I loved his idea of what filmmaking was. He became the outlaw of
Hollywood, in a way."
Scorsese, a one-time Hollywood outlaw himself, had no choice in the casting
of DiCaprio, but he also had no problem with the arrangement, particularly
because DiCaprio had Hughes down cold.
"I'd had a pretty good relationship working with Leo in Gangs Of New York,"
Scorsese says. "That was a baptism of fire because it was a difficult
picture to make." DiCaprio now says Scorsese "is every actor's dream to work
with."
Physically, says Scorsese, DiCaprio captured the look of the young Hughes
because of "the lankiness, the tallness, the frame itself. I felt that he
did remind me of the young Howard Hughes." In the case of the later Hughes,
"the one with the moustache after the plane crash, he just suddenly sort of
became Howard Hughes."
DiCaprio's dynamism in the role is no surprise to Beckinsale. "I've always
been a huge fan of his," she says in Los Angeles. She remembers, as an
18-year-old, seeing What's Eating Gilbert Grape, in which a teen DiCaprio
played the mentally challenged brother of Johnny Depp.
Beckinsale, an aspiring actress, turned to her then-boyfriend when they
spilled out on a Paris sidewalk after the screening and said, "Oh my God, I
hope that's a real boy and not an actor because, if it's an actor, we're all
screwed. I mean, that's really raised the bar for everybody in a terrifying
way."
Even though the 30-year-old DiCaprio was amiable with fellow cast members on
set, he recalls that the role of Hughes burrowed more deeply into him than
most characters.
"How did I shake him? I've always been pretty good at being able to go home
and be me again. But, I'd say more than any other character I've played in
the past, this one stayed with me the most. Especially with this stuff
having to do with obsessive compulsive disorder.
"We all have obsessive things we do to some degree, a primal thing in our
brain. I remember as a child stepping on cracks on the way to school and
having to walk back a block and step on that same crack or that gum stain.
So, for the movie, I kind of let all that stuff go (into action) and was
constantly stepping on things and reorganizing things. (I) wanted to
encourage that to come back and it really did. Once you don't stop yourself
from doing that stuff, it can just go on and on and on. People with genuine
OCD, people that aren't able to make that distinction, truly live in a
24-hour hell of constantly playing mindgames with themselves."
DiCaprio went through weeks of shooting depression scenes in a studio where
designers built a replica of Hughes' private screening room, his refuge.
"You sort of get into your own headspace and don't really want to talk to
anyone," DiCaprio says. "I spent a lot of time just sitting around in the
screening room alone. But, pain is temporary, film is forever."
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
http://www.usatoday.com/life/people/2004-12-09-dicaprio-cover_x.htm?POE=LIFI
SVA
Leo DiCaprio: Epic actor
By Scott Bowles, USA TODAY
BEVERLY HILLS - Leonardo DiCaprio looks older than you'd think.
Big shoes to fill: Leonardo DiCaprio, now 30, brings the legendary airman
and playboy Howard Hughes to life in The Aviator.
By Robert Hanashiro, USA TODAY
Standing 6-foot-1 and sporting a goatee and slicked-back hair, DiCaprio
carries himself deliberately. He doesn't walk; he saunters. He speaks
intensely, mulling his words while locking his eyes on you. He looks all of
his 30 years, if not more. There's only a trace of the boy who starred seven
years ago in the biggest box office hit of all time.
DiCaprio concedes that he still gets the "aren't you that kid from Titanic?"
comment on the streets. But make no mistake: He is a boy no more.
"Yes, I can play younger than my age," he says with a grin over
chocolate-dipped strawberries and biscotti at the Regent Beverly Wilshire
Hotel. "But I can play characters older than I am, too. I'm not an actor who
can just play the kid."
DiCaprio gets his chance to prove that on Dec. 17 when The Aviator arrives
in New York, Los Angeles and San Francisco. It goes nationwide on Christmas
Day. Martin Scorsese's sprawling epic about legendary airman and playboy
Howard Hughes puts DiCaprio in foreign territory: playing a character who is
older, richer and more famous than himself.
Few movies enter the fall with heavier expectations. Miramax Films is
banking on the $100 million movie to put the studio back into the Oscar hunt
after being shut out last year.
And after the collapse of Alexander, the critically panned, commercially
disastrous Oliver Stone opus, The Aviator is the last epic standing this
awards season. Part biopic, part homage to Hollywood's heyday of the 1920s
and '30s, The Aviator's classic elements have helped make it the early
front-runner among big-studio entries.
For Scorsese and Di-Caprio, the movie marks something more personal: a shot
at a first Oscar for both men.
Despite earning $20-million-a-movie paychecks and global stardom since
1997's Titanic, DiCaprio hasn't been nominated for an Academy Award since
1994's What's Eating Gilbert Grape. Scorsese is Oscar's latest bridesmaid,
having been nominated for best director four times but never taking home the
prize.
Both may find redemption this year. Industry analysts are calling the film
Scorsese's best work since 1990's Goodfellas, thanks in part to the director
and actor having an unusual aging effect on each other.
"Marty has helped bring out the man in Leo," says film critic Emanuel Levy,
author of All About Oscar. "No one believed Leo could play Howard Hughes,
who has always been seen as a man's man. But that's changed now. Leo is a
lock for a best-actor nomination."
DiCaprio, in turn, "seems to have brought out the kid in Scorsese," Levy
says. The Aviator is "more reminiscent of his brilliant early work like Taxi
Driver and Raging Bull, just more commercial and enjoyable."
Scorsese, 62, acknowledges that the young actor - who starred in his Gangs
of New York in 2002 - has given him new energy.
"Directing is a real headache. But working with Leo, who forces you to talk
and talk and talk about your movies, gets you excited about what you do."
A life 'too big for one movie'
There has been talk about making a film biography of the legendary airman
and filmmaker for decades.
But where to start - or stop - such a film? Hughes was as much a force in
Hollywood as he was in aviation. He broke speed records while financing some
of the industry's most expensive films, including the $4 million Hell's
Angels in 1930. He was commandeering TWA while courting the film industry's
biggest stars, including Ava Gardner, Jean Harlow and Katharine Hepburn.
"And that was before he succumbed to his illness," DiCaprio says of the
obsessive-compulsive disorder that left the germ-phobic millionaire the
poster child for seclusion and paranoia. "His life was just too big for one
movie."
Then it hit DiCaprio: Just take a portion of Hughes' life, the less-examined
slice before the final phase of dementia, of uncut fingernails and tissue
boxes turned into shoes.
When he was 22, the actor had stumbled across a book, Howard Hughes: The
Untold Story by Peter H. Brown, and had been trying for years to coax
directors to tackle the story.
After several fits and starts, he landed director Michael Mann and
screenwriter John Logan, who wrote Gladiator and The Last Samurai.
Mann, citing biopic burnout from Ali, later decided to produce the film and
not direct it. But Scorsese didn't hesitate at the chance to tackle the
project.
"When I saw the title, I thought it was about flying," he says with a laugh.
"And I hate flying. But the more something scares me, the more I want to
explore it."
And DiCaprio sealed the deal, Scorsese says. "He doesn't so much play the
roles as he becomes consumed by them. It's fascinating to watch."
Indeed, DiCaprio became obsessed with the part in a manner that might have
made Hughes proud. He spent days with a man who had obsessive-compulsive
disorder so he could observe the facial tics and mannerisms. He read a
half-dozen biographies and watched hours of archival footage of the brash
Hughes. He even insisted that Scorsese include a song by Django Reinhardt, a
jazz guitarist from the 1930s, in the movie.
He wasn't the only one immersed in research. Cate Blanchett tackles the
challenging role of the legendary Hepburn.
"It was great fun trawling through her films," Blanchett says. "It's one
thing to play on screen someone who people have an image of and regard as an
icon. But it's another thing to play her in the very medium in which she has
become so revered. The truth is that I don't think I would have attempted it
for anyone other than Martin Scorsese."
DiCaprio echoes his co-star. "Marty's got such an encyclopedic knowledge of
film, especially old movies. You have to know your character inside out, or
he'll let you have it."
That included Hughes' mental breakdown. DiCaprio rehearsed scenes for weeks
that called for him to repeat a single line, over and over.
"Howard would get a line in his head and couldn't stop saying it," DiCaprio
says. "One half of your brain is stuck in the record groove, while the other
knows you sound like a fool. I was trying to figure out how you do that, how
to say the same line again and again but express everything else that's
going on inside your head."
DiCaprio's head, the actor insists, is far less cluttered than his
character's, though he concedes that, like Hughes, he is partial to old
films and the occasional obsession, particularly vintage movie posters. Over
the years he has collected a French Buster Keaton poster, a German
Apocalypse Now, a Polish Midnight Cowboy and an authentic King Kong "that
cost me a bundle."
And like Hughes, DiCaprio has dated his share of famous women, having been
stalked by paparazzi snapping him with Kate Moss, Demi Moore and, most
recently, model Gisele Bündchen.
But that's where the similarity ends, he insists. He demurs from talking
about his love life but says there is an emotional bond behind every
relationship that Hughes' liaisons lacked.
"I think Howard thought of women the same way he thought of planes,"
DiCaprio says. "He wanted the fastest thing, the newest model. That is not
how I approach dating."
He also is careful to approach fame differently from how Hughes did.
He doesn't hide buck-naked in hotel rooms as Hughes did in his withering
years. But DiCaprio is selective about his films and his public appearances.
He has starred in only five movies since Titanic, in part so that a single
film would not define him as that one did.
He has acknowledged that it was a mistake turning down Boogie Nights in
favor of the James Cameron film, which made him Hollywood's pinup boy for a
generation of teenyboppers.
But he has since come to terms with that fame and says he takes no film in
the hopes of getting an "anti-Titanic reaction."
"I think people read the tabloids because they want to see you eating a
burger, or out of your makeup or doing something stupid because they just
want to see that you're like everyone else," he says. "And that's OK. I
don't want to catch myself anymore saying that my life is hard, because the
good far outweighs the bad in my life. And it's easier to focus on those
things, on the things that are important."
Like an Oscar? DiCaprio was snubbed when Titanic managed 14 Academy Award
nominations (and 11 wins) in just about every category, including an acting
nomination for co-star Kate Winslet. But DiCaprio's name was noticeably
absent.
"Anyone who tells you that they don't want their work recognized by their
peers is lying," he says. "I'd love this film to be the one, especially for
Marty. That he didn't win an Oscar years ago is still a mystery to me.
"But he's the reason you make movies," DiCaprio says, moving to the edge of
his couch cushion as he speaks. "You learn after you've been in the business
for a while that it's not getting your face recognized that's the payoff.
It's having your film remembered."
He grins slightly at the notion of calling himself a Hollywood veteran. "And
I guess I have been in the business for a while now."
So has Scorsese. But lately, he says, he isn't feeling his years.
"After I finish a movie, I think, 'Wow, that was really hard work. What the
hell am I doing this for?' " he says. "But then you meet an actor like Leo
and start talking about movies and storytelling, and suddenly you're
interested again. Just talking now, I'm ready to go start another one."
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
- Celebrity Gossip
- She was a star for less than a decade. She headlined fewer than 20 films. Yet she had an impact that transcends statistics. With her brilliant platinum blond hair, ravishing figure, easy sensuality, and ready sense of humor, Jean Harlow was the most dynamic sex symbol of her era and one of the 1930s' brightest stars.
She started in films as an extra, and gained particular notice in a 1929 Laurel and Hardy silent short, Double Whoopee That same year she had a small role in The Saturday Night Kid which starred the woman she more or less supplanted as the screen's most uninhibited sex star, Clara Bow. Her big break came in 1930, W_hen Howard Hughes cast her as the leading lady in the epic WW1 aviation drama Hell's Angels Although her acting skills were dubious at best, she looked smashing (and was even photographed in two-color Technicolor for one extended sequence), and her offhanded question to Ben Lyon, "Would you be shocked if I changed into something more comfortable?" was quoted-and misquoted-for years to come. Hughes sent her on per sonal appearance tours and loaned her out to other studios. In 1931 alone she appeared in The Secret Six, The Iron Man, The Public Enemy (opposite James Cagney), Goldie and Platinum Blonde (playing the title characters in the last two); 1932 began with Beast of the City and Three Wise Girls
Still, there seemed little more to Harlow than her looks. It was MGM producer Paul Bern who took an interest in her, and encouraged his studio to build her up and give her other opportunities. She made the most of Red-Headed Woman (1932), giving one of the sexiest performances ever put on film, but leavening it with humorHarlow's heretofore unseen trump card. The promise she showed in that film came to fruition in Red Dust (1932) in which she played a tramp with a heart, opposite Clark Gable. Overnight, it seemed, Harlow was not only a bona fide star, but a hit with the critics as well, who had dismissed her just one year earlier.
MGM now developed films to fit her personality, like Hold Your Man (1933), and gave her an irresistible opportunity to poke fun at herself (and even her leeching family) in Bombshell (1933), a Hollywood satire about a put-upon movie star. Then in the all-star Dinner at Eight (1933) she held her own with such legendary scenestealers as Wallace Beery and Marie Dressler. The imposition of Hollywood's Production Code forced MGM to tone down Harlow's brassy image (although 1934's The Girl From Missouri just squeaked by). The result was a string of more genteel movies including the illadvised musical Reckless (1935, in which both Harlow's singing and dancing were doubled), China Seas, Riffraff (both 1935), Wife vs. Secretary, Suzy (both 1936), and Personal Property (1937). The standout among her later films was Libeled Lady (1936) in which she battled perennial fiancé Spencer Tracy; it was a delicious comic performance.
During the filming of Saratoga (1937) she fell ill, and was dead ten days later. The world was shocked that someone so young, beautiful, and seemingly healthy could die so suddenly. Various causes were cited, but it wasn't until 1993 that biographer David Stenn revealed, from long-suppressed doctor's records and other evidence, that Harlow had been suffering from kidney disease since her teens. With no known cure at the time, she was doomed. Public demand caused MGM to complete Saratoga with stand-in Mary Dees substituting for Harlow in several shots.
Hers was a shocking, tragic end, though it seemed in character with other personal problems that had dogged her life: a suffocating mother and parasitic stepfather; the mysterious death of her second husband, Paul Bern; another short-lived marriage to cinematographer Harold Rosson; and a long engagement to MGM star William Powell that never quite culminated in marriage. Rumors and mistruths about all of that fueled two screen biographies in 1965, both called Harlow one starred Carroll Baker, the other Carol Lynley. Neither one managed to capture the magic that made Jean Harlow a star.
- "Men like me because I don't wear a brassiere. Women like me because I don't look like a girl who would steal a husband. At least not for long."
- "I was not a born actress. No one knows it better than I. If I had any latent talent, I have had to work hard, listen carefully, do things over and over and then over again in order to bring it out."
- [On 'Hell's Angels'] "When I was making a personal appearance, I'd always sneak in the back of the house to watch the zeppelin airplane attack. I naver failed to get a tremendous thrill out of it. I probably saw that scene hundreds of times."
- Measurements: 34B-25-36 (Source: Celebrity Sleuth magazine)
- A new musical called "In Hell With Harlow" about an after death meeting between Jean Harlow and Protestant WWII martyr Dietrich Boenhoffer never reached the stage. The production written by best selling author Paul L. Williams, was to star Dawn Winarski and Greg Korin.
- Harlow used to put ice on her nipples right before shooting a scene in order to appear sexier.
- She had to stick to a strict diet to keep thin, eating mostly vegetables and salads.
- Never wore any underwear ever and always slept in the nude.
- Favorite brand of cigarette - Fatima.
- Interred at Forest Lawn, Glendale, California, USA, in the Great Mausoleum, Sanctuary of Benediction, at the end of the corridor, on the left side, second to the last private room marked "Harlow."
- Had two famous superstitions: She always wore a "lucky" ankle chain on her left leg (visible in some films if you look closely), and had a "lucky" mirror in her dressing room. She wouldn't leave the room without first looking at it.
- Jean was at a dinner party and kept on addressing Margot Asquith (wife of prime minister Herbert Asquith) as MargoT (pronouncing the 'T'). Margot finally had enough and said to her "No Jean, the T is silent, as in Harlow".
- Jean Harlow's funeral wasn't your average funeral. 'Louis B. Mayer' (qv) head of MGM, took charge and made a Hollywood Event. He had Jeanette MacDonald and Nelson Eddy sing his favorite song, "Oh, Sweet Mystery of Life'" in the church chapel, followed by a huge banquet with an orchestra.
- Born at 5:40pm-CST
- She was the very first film actress to grace the cover of LIFE magazine in May 1937.
- Ranked #22 on the American Film Institute's "100 Years, 100 Legends" list in June 1999.
- The premiere of her first feature film Hell's Angels (1930) on May 27, 1930 drew an estimated crowd of 50,000 people at Grauman's Chinese Theatre on Hollywood Blvd. The film also has an expensive eight-minute two-color technicolor sequence-the only color footage of Jean Harlow that exists.
- Was the idol of Marilyn Monroe, who backed out of a bio-pic on Harlow's life. After reading the script, Monroe reportedly told her agent: "I hope they don't do that to me after I'm gone."
- Her final film Saratoga (1937) became the highest grossing film of 1937 and set all-time house records, due almost entirely to Harlow's untimely death.
- Went on a salary strike from MGM in 1934, in which time, she devised the novel "Today is Tonight." The book was not released until 1965.
- In the 1933 Hollywood satire Bombshell (1933) Harlow is known as "the 'if' girl" -- a spoof loosely based on 1920's sex symbol and "It girl" Clara Bow.
- Was photographed nude at age 17 by Hollywood photographer Edward Bower Hesser in Griffith Park in 1928.
- Refused the blond female lead in King Kong (1933), as well as the female lead in the Todd Browning cult-classic Freaks (1932)
- Height is often listed as 5'2"-5'3 1/2"
- Dated the notorious mobster Abner "Longy" Zwillman who secured a two-picture deal for Harlow with Harry Cohn of Columbia Pictures by loaning Cohn $500,000 in cash. He also purchased her a jeweled charm bracelet and a red Cadillac.
- Was the godmother of Millicent Siegel, daughter of the notorious mobster Benjamin "Bugsy" Siegel.
- The dentist's daughter eloped at age 16 with a young businessman and wound up in Los Angeles where she found work as an extra and bit player (e.g., "Moran of the Marines" and "Liberty", 1928) and somewhat more prominently in Laurel and Hardy shorts ("Double Whoopie", "Liberty", "Bacon Grabbers", 1929). Her first big break came in 1930 W_hen Howard Hughes remade his 1927 "Hell's Angels" in a sound version, replacing the heavy accented Swede Greta Nissen with the girl who, with her divorce in 1929, had adopted her mother's maiden name, Jean Harlow. Hughes loaned her out for a number of movies which, like Capra's "Platinum Blonde" (1931), featured her platinum hair and obvious sexuality (she claimed she never wore underwear). In 1932 Hughes sold her to MGM, her "Red-Headed Woman" for them led the Hays Office to prohibit unpunished adultery, and she married Irving Thalberg's right hand man, Paul Bern. The marriage ended after a few weeks: just after his former common law wife met Harlow Bern shot himself, and a few days later the other woman took her life. She had another brief marriage with cameraman Harold Rosson followed by an affair with William Powell. She made three films with Spencer Tracy and six with Clark Gable receiving much improved critical acclaim for her acting, allure and comedic talent. During the filming of "Saratoga" in 1937 she was hospitalized for uremic poisoning, dying June 7 of cerebral edema, aged 26.
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